My work has been focusing on the landscape for ten years. I grew up in Romania in the midst of nature. However, I don’t literally start from an existing landscape. My paintings are about nature and particularly the human nature; the life of man. According to C. G. Jung our psyche is a reminiscent of evolution of nature, and this reality is my prime source of inspiration.    

In painting I seek and explore a space to reflect, an inner space, a natural, psychological and archetypal space, that time and culture have obstructed. Painting reflects this cultural conflict of surfaces, tran
(*) Extract from Man of Place

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(*) Extract from Letters


The result is colorful, fluid, baroque forms evoking nature, rivers or clouds, waves, undergrowth, organic structures and rhizomes. (...)

The observation is prolonged, the evocation of this real or fairy world becomes embroiled. The painting becomes autonomous. Lines and surfaces create abstract and broken, non-naturalistic spaces. It becomes ambiguous, gentle and violent, sensitive though insecure.

Magda Amarioarei is full of questions. She speaks, she writes without naming painting. She talks about what painting says or should say.
She opens and spreads
(*) Extract from Text by André Delalleau


My paintings are brought to life by my desire to meditate and to create space and connections as such. As symbols attach a sense to a given image thus, the painting connects the image to the sources of the imagination (such as perception, memory, archetypes) and to revelations (the very action of painting).

For the Roots series, paintings are closely related to my biography and my exploration and the way I transliterate my relationship with the environment in terms of color, texture, atmospheres, matter, all in all spiritualized and dramatized by the mixture between image and painting. Bir
(*) Extract from Ecobiography

La série "Les Enfants Ancêtres (la nature du paysage)" est une approche poétique d'un mythe indo-européen qui véhicule que les humains serait les âmes du lieu et de la nature incarnée, qui après la mort et comme l'examine le mythologue Mircea Eliade, retournent dans les arbres, dans les fissures, dans l'eau, en attendent d'être accueillis et restaurés dans le monde.

Ce mythe souligne la solidarité de l'homme avec la nature et le cosmos environnant, mais aussi la formation de l'intérieur de l'homme dans les entrailles de la terre, en montrant la
(*) Extract from Les Enfants Ancêtres


The Cro-Magnons lived with fear and amazement in a culture of Arrival, facing many mysteries. Their culture lasted for some 20,000 years. We live in a dominant culture of ceaseless Departure and Progress that has so far lasted two or three centuries. Today's culture, instead of facing mysteries, persistently tries to outflank them.” (This quote is from John Berger, one of the first people to visit Chauvet, home of the oldest cave paintings in the world - The Guardian.)

Painting is definitely one of the most difficult (maybe even ‘the’ most difficult), ungratef
(*) Extract from Fragments and Landscapes by Koen Wastijn


Magda Amariorarei has a fascination with space. Perspectives and grids help us interpret the world, but Amariorarei looks beyond this. Her work elevates reality to a timeless composition, using the geometric forms of today’s civilisation to evoke a world of contemplation and evasion.

Amarioarei uses natural landscapes as a starting point in her work. She combines it with lines of perspective which make a reference to industrial or urban elements, creating a fictional geometry. Their goal is not to constrain the viewer but to inspire him by projecting an intuitive world, a
(*) Extract from Landscape, a Matter of Time by Emily Rammant