The second solo exhibition at AnnArt, Serenity, reunites a body of 20 works in mixed media – painting and collage, and it remarkably illustrates the technic of assemblage-painting practiced by the artist which has become a Prevenda trade-mark. The series was produced by the artist during 2009-2010 and marks, in atmosphere, a breaking away from the roughly-intense spirit of the Time Regained series: following a lucid and careful investigation into the presence of the child in our lives, Prevenda composes a uniquely expressive landscape in tones of serene white and warm color in which we are revealed the innocent and altogether turbid condition of the child, the angel keeper. The works are presented in Bucharest for the first time, after being exhibited in Brussels in 2011.

What is interesting in Florica Prevanda’s works is the fact that the shadow of the represented child is not his partner, but the child itself. In her works we not only find the child illustrated as a shadow (the so-called projected shadow), with or without wings, substituting the ”original” body. The shadow is intransigent and meaningful, proof that no mater what happens with the “original”, the shadow represented in iconography always remains the same and in the same place. Thusly, we will surely encounter something profoundly touching in the professed calm of Prevenda’s works.

Adriana Oprea, art critic and historian- fragments from the Florica Prevenda: Serenity, 2011 catalog

Florina Prevenda’s passionate dedication in her studio labor is incorporated in the material elaboration of the invented pictorialness: stratified densities, colored marks in layered deposits modeled by hand, loose, turned, intertwined, cut out. It is a “pictorial” processuality of interrogation for the spirit of a time threatened by reification and consuming depersonalization. For two decades, the artist proves an exemplary tenacity for material-pictorial research on an issue that deepens as procedure and concept from one exhibition to another. There is hope in candor and the generational renewal, as Prevenda persuades us with the blossom-faces which she sets out on the canvas of 2016. 

Aurelia Mocanu, art critic