"In a time of savage forms, devouring conceitedly from themselves, to reveal nothing but the silence of their own tautologies, the forms signed by Zoe Pop are born under a more fortunate sign. They have the generosity to refer not only to themselves, but to provide themselves to a vaster poetical sense of the world: to be embodied at the meeting point of that fertile correspondences, which bring together the layers and classes of reality, transforming the existence in a speaking whole.
They have the good humility not to invent non-existent forms from anything, but to illustrate, directly or metaphorically, the languages of nature, as well as their human concreteness – the poem. And, they are themselves materialized poems.
They have the courage, rarely found today, not to struggle against the world, but by contrary, to recognize its durable and incorruptible harmony. It is probably why they preserve that pleasure and joy of docility, of birth and creation, that mystery of beauty, which encircles like an aura all created and accepted things in the world.
The beauty, if it is mysterious, is probably because it keeps alive the presentiment of a meaning, of an element, which transcends and assimilates it. More amazing is a thing, which signifies, going beyond itself in something else, than a thing without any meaning. It is much harder, and difficult to understand that the world has a denotation, and to immerse into its vital language, than to refuse a priori the existence of any significance, and to place opaque and vacuumed signs in front of a such-like emptied world.
The happiness is more demanding than the absurd.
These works do not interdict for themselves especially the happiness. It is why they seem that would be able to self integrate almost natural – if ever abandoned – into the complete organic movement of the world. What more they could ever wish?"
(text by Magda Carneci, in 1985 Personal Exhibition Catalog)
