Visual Art Journal, Issue #44
INTERNATIONAL ART MAGAZINE / DECEMBER 2025 NETHERLANDS
MAGAZINE DETAILS:
Published by Visual Art Journal in Issue #44, December 2025 edition, on pp.16-17, with [Q#2] – “…QUAECUMQUE SUNT VERA…”,and [Q#-1] – QUASSATURA, © Alexandru Crisan 2020,
project page: https://alexandru-crisan.com/projects/q/
publisher: Visual Art Journal, (e-ISSN) 3051-2352
format: 21 x 29.7cm
year: published in December 2025
Printed in The Netherlands.
Featured Artists
Ian Barnes, Serpil Odabasi, Alexandru Crișan, Yu Yu (Spencer), Bertrand Capelle, Dusan Marinkovic, Anna Dudek, Mary Angerman (Marydeer), Ekaterina Vetchinova, Manuela Muzzone, Obada AlOmari, Alexandra Kashina (Harufeel), Qingyuan Liang, Irina Zavorotnaya, Huan Zhou, Lena Lecca, Silviya Plamenova Petkova, Léa Malas, Elizaveta Zolotykh, Melanie Perelshtein / Dominika Białas, Misa Inoue, Arrushi Chakraborty, Nyll Axis, Mackenzie Browning, Annie RC, Qinyunyi Zhang (Yuii), Tanner Rhines, Gabriele Martin, Candice Rawlings, Xingyun Wang, Zhe Yang, Gloria Manoka, Soh Young Lee, Valeriya Vyatchina (WAYS12), Aisha Fatima, Prof. Shirley Yeung, Artyom Kozhevnikov, Saadé L. Taylor, Irina Krechetova, Jovana Ciric Srbinovska, Maria Sauzet, Tom Zelger, Nguyen Minh Tri (Tonee), Yi Wang (Cizzoe), Ksenia Panasyuk, Tina Chiu, Yolanda Tian, Irina Komarova, Enoch A, Yumeng Li, Ophelia Chen, Nana Said
Magazine page: https://visualartjournal.com/2025/12/20/issue-44-december-2025/
Artist Bio
Alexandru Crișan (b. Bucharest, Romania 1978) is a visual artist interested in the existential complementarity of objective and nonobjective forms of expression. As far as the latter is to be unpacked, his “counter-professional” career in photography began in 2008; his paintings stand, for almost three decades, as the most intimate, borderline atavistic, acts of divulgence. Assuming that taxonomy is of any consequence, he is partial to fine-art photography and Abstract Expressionism. The eclectic nature of his projects is, therefore, a given. When it comes to the acrylic heart-chambers of his work, there is an uncanny sentiment of intimacy that gradually found its safe house within the lyrical abstractions spectrum. In the aftermath of incipient spiritualist art etudes, transcending a surrealist period of emancipation from the confines of geometry, not to mention a stint in the magical realism of overpainted photographic negatives, an obsessive chase for the “taming of the light within the organic pool of colors” ensued. While this pursuit found its default creative outlet within architecture, it also pushed him towards the logic of abstract expressionism. A decade after he found his eclectic (often nonrepresentational) niche, the most spectacular results were the series “The Human Comedy” (acrylic Balzacian musings on intersectional dead ends), “Discorsi” (color-coded existentialist Q&As), and “Q” (a chromatic synthesis triggered by anxieties and saudade). His works evolved into a symbiosis which he calls “Brutalisme lyrique”. He describes this artistic approach as “a filiation in which the Abstraction Lyrique is a phenomenological motherly figure, while the nybrutalism may claim ontological paternal custody, yet the – ultimately needed – IVF-like metabolic praxeology is delivering the visceral coherence. Crișan’s works have been presented in over a dozen international exhibitions, have been published in over 50 peer-reviewed magazines, have received over 500 international awards and nominations, and are part of several privately owned collections and art galleries.