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Lujza Marečkova

Lujza Marečkova

Lujza is a Slovak photographer and visual artist whose work explores the relationship between nature, found objects, and experimental techniques. She holds a Master’s degree from the Institute of Creative Photography in Opava and a Bachelor’s from Canterbury Christ Church University. Her studies also took her to FAMU in Prague through the Erasmus program, where she immersed herself in a vibrant artistic community and gained experience in the film industry as a film still photographer and camera assistant.

Her artistic practice is driven by a deep connection to the environment, using photography, painting, and ceramics to highlight themes of fragility and transformation. Embracing chance as part of her process, she incorporates fire, natural elements, and unconventional materials to create evocative, textural works. Through her art, Lujza invites viewers to reflect on ecological consciousness and the delicate balance between humanity and nature.

Painting by Adrian linked to its personal shop page

Artist's Journey: Achievements and Exhibitions (2012-2019)

In the same year, he was awarded the 3rd Prize and also with Special Prize at Juventus Contemporary Awards by Triade Foundation in Timisoara. In the next year, The Ministry of Culture of the Republic of Moldova awarded him the Excellence Prize for painting at The National Museum of Moldova during BIP Chisinau.

The 2012-2016 artistic work period includes national and international group exhibitions such as Via Pontika Youth Festival (Balchik, Bulgaria), Transform Art in Education 2014 (Brâncuși Hall, Palace of Parliament, Bucharest), and Transform 2016 at the National Museum of Contemporary Arts Zagreb, Croatia or Die Natur Des Kunstlers (Vienna, Austria). In 2017 he was awarded Prize for Painting by the National Union of Artists and was a finalist at Teodor Moraru National Award. In 2018 exhibited at Huntenkunst Focus on Romania – Central Pavilion, representing Romania, and in the same year, he exhibited at WIPO Geneva, CH. He was awarded Painting Prize at Balassi Hungarian Cultural Institut in Bucharest in 2018.

His works have been exhibited in solo and group shows in Romania or Europe in private or public institutions such National Museum of Arts Bucharest, National Museum of Contemporary Arts Zagreb, or WIPO Geneva. He has two important retrospectives at the Palace of Parliament – Bucharest, 2017 and Arthalle Gallery, 2019 – Bucharest.

His work is part of many prestigious private and public collections such as the BRD GS Art Collection, Deputy Chambers Art Collection Romania, or Jecza Museum Timisoara Art Collection.

Artist Statement

Sometimes we reject pink as it seems the color of girls, of women or men of certain ages, of funny stupid dolls, of posh ladies, kid diapers, little girls’ clothes. It’s a disgrace, a joke, a cliche, a laugh. But, yet, the prettiness of pink reveals, by contrast, a harsh and adult acknowledgment of the serious side of our lives. That’s why Adrian Dica uses pink and garbage in his paintings, although at first sight, the association seems meaningless.

As long as we deepen into his works we discover it’s not about the simplest series of pinky brushstrokes thrown upon an image of a pile of dirt or that of a preapocaliptical scenery, it’s the reflection of our lives. We all have good and bad, happiness and sadness, sunny summers and icy winters, a unity of opposites and paradoxes that makes our lives meaningful. Adrian Dica succeeds in making out of his art an image of life in itself and meeting points with the others’ conscience.

In apparent opposition with pink, the industrial ruins of a previous era are personal interior landscapes, conditioned by the time and the space of childhood significant memories. The physical structures he paints are abstract mental schemes that belong to the timelessness of a space-based on perception. The artistic speech is intimate and imaginative, revealing the existence of conscience: the attitude of detachment and revaluation of memories.

From a technical point of view the artist aimed at certain correctness validated by their own experience and by the methods already established. Starting from the techniques specific to the pictorial language (oil, acrylic on canvas) he tried to experiment based on a final expressiveness. Without developing a strict, repetitive method he integrated into the technique used various variables ranging from acrylic colors and oils to using water based stains, textural sprays, industrial paint, and pigments. The brush is generally used for counterpoint, the rest of the image is constructed using a palette knife, chassis wedges, scrapers, paint sprayers.