Une longue promenade 1999

Editor: Here we have Aurel Cojan’s 1999 mixed-media piece, "Une longue promenade," which translates to "A Long Walk". My first thought is just… chaos! But maybe it's a controlled chaos? How do you interpret this work? Curator: Ah, chaos! Yes, but a beautiful, vibrant chaos, no? When I look at it, I imagine a summer storm – that electric, frenetic energy just before the downpour. I get the sense of fleeting moments, impressions rather than concrete things. What do you think of the white space – how does it affect the painting? Editor: I think it both calms the piece and creates a sense of boundlessness – like the marks are exploding outwards but are being reined in by the white background. Curator: Exactly! It’s a push and pull, isn't it? For me, Abstract Expressionism is all about that internal struggle externalized – raw emotion splashed onto the canvas. Like looking at someone’s diary pages thrown into the air, yet wanting to pick up those pages one by one to catch glimpses of the scattered writings, knowing that, together, they still narrate their story. Editor: So you're seeing an emotional landscape more than a physical one? Curator: Precisely. Do you feel a sense of movement within the work, as the title suggests? Editor: Definitely, now that you mention it! There’s a kind of meandering path created by the brushstrokes. Curator: And that path leads us, the viewers, doesn't it? Inviting us to project our own "long walk," our own memories and experiences, onto its surface. That’s the beauty of abstract art – its invitation to connect with our inner selves through the artist's vision. Editor: That's a really interesting point. I came in seeing just disorder, but now I see it as an invitation. Curator: Isn't it amazing how art can change with just a slight shift in perspective?