Mirela is known for her experimental-abstract works, covering a wide range of styles and techniques, from photorealism and neo-expressionism to abstract, from painting, linocut and pointe sèche to photography, collage, assemblage and land-art. The works made in recent years are situated at the stylistic confluence between abstract expressionism, gesturalism and the lyrical abstract.

"The artist experiments with spatiality between interior and exterior. Initially, the artist worked on a canvas of over 100m prepared during the residency period and intervened directly under the influence of the open environment of the city's Central Square, and later the painted line became the material from which she built the interior of a cube of the painting.

The linear exposure became, as it transformed into an hermetic spatiality, the artist's camera obscura through which the relationship between positive and negative spatiality, between the affirmation and negation of space, was accentuated. The plastic construction of one of the rooms reminds us of the myth of Plato's cave, it is surprising how the optimistic forms of the public intervention were transformed into an environment of constraint by closing the spatial cube. The artistic process manifests itself as a conversion process in which the experiment demands and motivates our senses and reactions, beyond the visual concept itself.” – Cosmin Nasui (modernism.ro)

"In the volumetric development of the painted canvas, light plays an essential role, with a focus on areas of chromatic and graphic interest.

The viewer's shadow also plays an important role, interacting with the entire installation of EXPERIMENT INSIDE.

During the two weeks of this artistic residency I lived a profound and transformative artistic experience.

I had the privilege of exploring new techniques and working materials, on a new medium for me, being a 100 meter black canvas. This exploration challenged me both technically and conceptually, confronting new issues of plastic language on the new surface.

The creative process culminated in the installation of this canvas in the public space in the first stage, placed in a dialogue with the shadow of the tower of the Evangelical Church, and then it was transformed into a cube that invites the viewer to enter and explore it.

At this stage, I tried to create a link between the past and the present, bringing to the fore multiple genesis, then memories related to the experiences of the ancestors on their journey in cave art, then black African art, and the microscopic world, generating a language.

The role of lights and shadows is essential, emphasizing the key points of the composition, contributing to a complex visual game that the viewer is involved in. Once inside this cube, its borders and edges begin to merge, turning into imaginary stalactites and stalagmites, created by nervous and gestural touches, united by light in a unique symbiosis.

This experience was one of continuous discovery, a true experiment that challenged me and expanded my artistic horizons." – Mirela Iordache

The results of the project can be seen starting August 22nd, at Casa cu Lei, where the public can immerse themselves into Mirela's art, until September 15. The residencies are supported by the George Coșbuc Municipal Cultural Center in Bistrița and offer artists a laboratory of experiments for visual arts, during the summer.

This proposal invites visitors to reflect on the world's environmental crisis. Particularly in Argentina, approximately 49,300 tons of waste are generated daily. This is equivalent to about 18 million tons per year. The production of goods, wealth, and by extension of subjectivities, has an unavoidable counterpart, a forced complement: the production of waste, leftovers, and surplus. Now, as leftovers, they persist, they are transformed in the most diverse ways: as polluting agents of the environment, as elements to be recycled and reinserted in the market, as raw material for the most basic survival, or, as materials available for their poetic usufruct.

In this last instance, it is possible to inscribe Julia Padilla's approach to this category of objects. Her sensitivity is attentive to the dimension of the residual in collective life. If we bear in mind that the etymology of the term investigates refers to vestigial (trace, ruin), the keys to the research that the artist carries out on waste go back to the interior of the perspectives that they are capable of expressing, they go beyond the closure of their original and obsolete function and take advantage of the possibilities of conjugation and transformation of all kinds of materiality. By making them be seen again, by making them awaken other valences, he makes them exist in different ways and their new realities become thicker.

The curator states that for Teodora, art is a procession of thoughts and feelings. But, unlike some of her previous paintings, where black dominates the compositions, these new works are characterized by the presence of white.