Authors

Let‘s approach her by wrapping up – as C Noica once said at Ipotesti.

The oils of Daniela Caraman all represents something of a kind,

they don’t have to be decoded (we have the virus of decoding),

we hardly visualize a kind of horse on juxtaposed greys, then a kind of cot (see Bandac!)

exceedingly gathered, rather a sort of chromatic explosion than a real one,

a discreet division of the picture in four parts, slightly asymmetric, a kind of lake where a kind of trees are mirroring –

sometimes a kind of mountains, x-rayed here and there- or it is just how they emerged, volcanic!

Here it is for example: a vase, a grey, a red-cherry or a coral simple vase on a simple background particularly

with balanced lights and shadows. Next, it is a presumed atelier, a torso, a mouth or maybe a trunk.

And then, in a very expressive imaginative trinity the black is focalizing the ochre,

the grey and the plain blue without frills.

Valentin Cosereanu, Ipotesti 2006

“The eye is listening!” says Claudel understanding that it must be perceived beyond the immediate realities.

“What is listening?”answers Marlaux underlying that is about a hidden meaning which does not lie where we are ready to hear.

Here the plasticity begins. It is here where Daniela Caraman comes in.

Horatiu Ioan Lascu

With Daniela Caraman, all is internal. The external world is only suggested as existing.

The captive attention does not manifest upon the existential, but rather on the "spiritually essential"

of a detail which becomes almost absolute, almost abstract but in the same time remains alive, surviving death,

sometimes emphasized by the color which stabilize the tranquility in the difficulty of communication.

Fabrizio Orlandi, Roma 2004

Daniela Craman cannot be constrained in a specific stream:she is abstract, sometimes informal

but always with an imprint of figurative which agree to a less hermetic interpretation of the works of art.

The line on the canvas is material, and the image is born out of essential lines and diaphanous colors.

The flowers rather tend to pick up the botanical substance than the description of the species,

rater the portraits for the profound anatomy than for the likeness with the paragon,

the forms emerge as though they remind the moment of their birth.

Fiorello F. Ardizzon, Roma 2001

The painting of Daniela Caraman has the disquiet and the power that only a "tested hand" feels.

Silvia Pop, Cluj 1995

I welcome the modernity of the vision, the detachment from the figurative,

the extent to which she masters the color, the clear and bright color.

As a general rule, the artists reach later to this stage, the gift of twining the colors.

Daniela Caraman is rendering an imagining universe of enchanting beauty and chromatic harmony.

Aurel Dorcu, Botosani 1995.

The idea of the mystery or of the nebula from which the horses take shape confers

the style a natural vigor whence the balanced assemblage is dilating,

almost a memory of edifice, where the anxieties can be loomed.

This is the spiritual measure with eyebrows and secret gates, indeterminate lines in the solemn fulcrum,

more edified than painted with the agility of the one who resorts to hope's crumbs and collects

them to set light to the mystic fire, insistently exposed between unfinished portraits

and flora which emerges incognito, arrogant in candidness. Hence, overlapped snows, never a glacier;

here it is the core the images are coming from; stylistic seduction, according to the Academy,

a magnificent attempt to reduce to essential the facets of the elements.

Daniela Caraman knows how to distill the urgent from the present to create a primordiality.

It is the hypothesis of a certainty that takes shape: candidness and synthesis.

Maria Tereza Palitta, Roma 2002