Looking at a series of works signed by Geanina, such as those that illustrate this material, we can see a graphic that denotes its own poetics, with an accentuated imaginary tint and a vivid chromatic. In other words, we find in her graphics the fragments of fairytale worlds. She then followed this aspect with a predilection for the master's degree, in the 3D graphics she made for the animation short films she had to prepare for the courses and then as a final project of the dissertation. Geanina and her colleagues were the first generation of graphic designers from UNAGE Iași who studied 3D Amination at the master's program in Graphics. The practical part of Geanina's dissertation was a short episode from a fairy tale, a story made entirely by her, both practical and conceptual. For this material she provided me with some frames from the video.

Frames from a 3D animation made by Geanina Zaharia

 
But before the master's degree, Geanina's graphics were strictly in line with the rules of traditional graphics. She made numerous compositions in pencil, pen and watercolor. Her works always had complex compositions, on which she worked meticulously, for hours, on which she always returned a few times to retouch or add new elements. I can say all this as an “eyewitness”, because I often watched her while she was working, being her roommate for a few years at the faculty. So I know her closely as a friend and as an artist. Geanina is a very detailed, meditative graphic designer who puts a lot of effort into everything she does. Her physical and inner beauty is reflected in every graphic composition she has made so far. To try to get to know her, even in the case of those who have not met her physically, it is enough to see her graphics. A truth valid for every artist. If you know how to look, the art in front of you will reveal a lot about the person behind it - the time of composition, the chromatics, the favorite subjects, the artistic manner, all are indications of the artist's intention and his psychology.

For the past two years, Geanina has worked almost entirely on digital and 3D graphics. In fact, she custom-makes individual, couple or family portraits, book illustrations, company logos and personalized wedding invitations with portraits. Her artist portfolio can be viewed on the international platform www.behance.net/geaninam94art, where you can see more samples of her graphics.

She sais that what inspires her work are the daily life experiences and ideas from the books she reads. The artists she admires are Anselm Kiefer, George Baselitz and Antoni Tapies. Her practice is based on the instinct. One of her most important projects is ANTHROPOSCAPES, a solo exhibition presented in apARTe Gallery, Iași, curated by Cătălin Gheorghe.

This was a project produced by Vector Studio in partnership with Asociația Culturală AltIași and UNAGE as part of Carte Blanche aux Jeunes Créateurs programme financially supported by Institut Français in Iaşi. 

ANTHROPOSCAPES, a series of post-pictorial artworks, highlights the alterations of the world's ecosystems through noxious man-made intervention imply a critical moment in geological history: the acceleration of the Anthropocene. “Beyond the politicization of recognizing or ignoring climate change, there could be identified with precision and emotion the degenerations of the environment caused by the impact of agricultural industrialization, the chaotic development of urbanization, the greenhouse effect, the acidification of the oceans, the effects of deforestation, the deterioration of biodiversity or even the extinction of biomasses from the spheres of plants or animal species. The consequences of the structural rapacity of the global economic system are felt in the accelerating changes in the biosphere, in changing weather processes and seasons cycles, in radioactive pollution”, points out the curator. 

In recent years, actions were taken into the direction of an ecological turn in art that highlights the eco-social role that artistic practice might have in denouncing the effects of global capitalism and creating conditions for awareness of the need for an ecological ethics with immediate effects on rebuilding the deteriorated relationship between social life and the natural world. At the same time, one of the radical questions of contemporaneity is whether the material production of art would not in its turn contribute to the degradation of ecological desideratum.

Negotiating the meanings of ecological activism and of the neomaterialist movement, Berta Maria Moldoveanu realizes a series of post-pictorial artworks in which the abstract and informal representations of the geological stratigraphy interferes with the immersive theatricality of the exhibitional installation. In the production of her works, she uses, literally and metaphorically, both natural and artificially created materials, from river stones, dust and fragments of marble, sawdust, linseed oil, sand, hemp and coal, to acrylic liquid (monomer), glue, pitch, adhesives and oxide pigments. The works strengthens the reflection on the critical topic of Anthropocene, being presented as a poetic periodic table of the elements of artistic intention to produce a re-cognition of the conditions of relational survival in the biospheric ecosystem”, highlights Cătălin Gheorghe in his curatorial statement.