1998-1999
CLIP – “I was always interested in fragments…”, is what Beti Vervega might say on a post – or neo-pop diapason, in unison with Claes Oldemburg, the septuagenary conceiver of gigantic humble objects, interested, with humour and vigilance, in the hot capillarity between “instant” art and “instant” life. “I believe that one of the main differences between the vision of an artist and the vision of a normal person is that artists see in fragments,” continues the Scandinavian New Yorker. “They tend to be very partial in their way of looking. When I walk down the street, I see only certain things and I wish to be faithful to that vision.” This is how Beti Vervega walks down the street, looking at the shop windows that, in most cases, reflect her image, striped with ads.
Why doesn’t this creator, hypersensitive to urban visuals, practice advertising graphics or electronic art? Because Beti Vervega is, structurally, a painter, and her deep sensitivity fuels a Saturnian gaze over the world, a gaze that dissects – membra siecta – everyday visuals. Then, summoning an aesthetic elegance of the clip, meaning a cut-out of the detail, the artist reattaches the pieces of the media self-portrait in the coloured, lively order of the patchwork of our days. A work of art must always teach us that we haven’t seen only that which is visible. Each new cycle signed by Beti Vervega is the transcription of a type of vigour that is unmistakeable in the current era of Romanian painting.
Aurelia Mocanu. 1998