A first example in this regard is the approach to the female body from an identity perspective. In the current exhibition, Sofia Ovejeanu proposes its liberation through the collage Out of the Real Space. The difficulty of this liberation is suggested by the contrast between the materials used and the sensation of a certain heaviness, an entrapment of the nude silhouette—which, nevertheless, remains in a relaxed posture, voluntarily exposed. This exposure is, at the same time, a rebellion, a form of protest against the classical image proposed, for instance, in Christian iconography. Such a narrative is found in Ana Rus’s work, in the Mystery of Eve series. Ana Rus reintroduces the feminine mystery through the archetype of Eve, depicted in a style reminiscent of Ancient Egyptian hieroglyphs, which practically (re)opens the subject of the mythologies of femininity. 

A second example, which continues these mythologies of femininity, comes through the textile materiality of Maria Jana Bitulescu, through her tapestries, paintings, and mixed-media works. Through her mastery in handling all the elements that compose her works, Maria Jana Bitulescu seems to step out of the story of the mythological weaver Arachne and reiterates this myth in a new key. Thus, the artist creates compositions that may recall Klimt through golden visual effects but differentiate themselves by amplifying the spiritual or mystical aura. In the series of works titled Cultural Migration, there are approaches to pyramidal structures, as well as a predominant use of vertical elements—possible forms of connection between the higher and lower planes. Following this idea, Message Between Heaven and Earth is precisely this: a large-scale tapestry where the repetition of the central black form on a golden background, along with other occurrences in pale pink shades, all arranged vertically in a solemn column, could just as well represent a window or an archway beyond which there is no more light. This Message between heaven and earth becomes visible through its implicit verticality, its appeal to anthropological structures of human imagination, and reminds us that we ourselves can be the message or the intermediaries of a message between heaven and earth. 

In relation to nature and the inner landscape, Ileana Ștefănescu speaks to us about Man in the Urban. She accomplishes this by superimposing a sketched, suggested portrait over what appears to be a residential block with illuminated windows. In this way, a reevaluation of the relationship between man and livable space takes place—a repositioning that perhaps deserves more reflection to realize the importance of the space we use and to step out of the mania of time. 

At the same time, The Secret Gardens of Georgeta Manea Josan cast discreet glances, meeting the gaze of those who admire her paintings, reminding us—in a style reminiscent of Blaga—that mysteries are not always meant to be deciphered, but rather to amplify beauty and ineffability, generating inertia both in the symbolism of life and in maintaining a profound, personal relationship with surrounding reality and unreality. 

In the same dialogue with nature is Flora Răducan, who continues the windows cycle through her impressionist-inspired works, executed with a brushstroke reminiscent of Van Gogh’s style. At the same time, she stands out through a composition that creates a synesthetic effect, particularly in those where the dominant color palette is green. The synesthetic effect evokes a cold, harsh mountain air, as if it tears our lungs apart, filling them with crisp, pure air. Additionally, the nostalgic atmosphere evoked simultaneously enhances the contemplative effect and the meditative ambiance that the artist not only illustrates but also configures for the viewers. 

The Mystery in Bloom exhibition offers a complex perspective on femininity, articulated through a diversity of techniques, symbols, and stylistic approaches. Through some of the analyzed works, we see how femininity is not a fixed concept but a space of continuous reconstruction, with a strong visual discourse. From reconfigured myths to expressions of corporeality and profound connections with nature, each work becomes a window into a fluid femininity, water being an inherent elemental link of womanhood - femininity freed from dogma and redefined through art. 

Here, the woman is not just a subject - she is a narrator, a creator, a visionary - and free. 

Ph.D. Researcher Andrei FĂȘIE