At the heart of Farcas’ practice is portraiture. Portraits of women, men and children, real and fictionalised, parade across her boards and canvases. Ranging in size from the diminutive world of the miniature, to large scale crowd scenes, Farcas’s work delivers a colourful ensemble of characters. Sometimes Farcas tends towards the fantastical, combining animals or anthropomorphic beings with her fully human figures; drawing from mythology and fairy tales, often sourced from her native Romanian heritage. Always though, it is possible to find Farcas herself in the work:
This world of Farcas’s could be described as being between the visible and invisible. What she feels and ‘sees’ in her mind’s eye is combined by seen and felt experiences in reality and who is to say that one is less real than the other when both can be translated into memories, and after both are re-born and co-existent within the grounds of her paintings?
Farcas’s paintings certainly have a dream-like quality about them. But in amidst the soft, misty environs she creates, there is a tangible physicality. The figures are robust, passionate creatures awash with emotions and often depicted mid action. The notion of observing a figure who is seemingly unaware, lends a voyeuristic quality to the work.
Merleau-Ponty argued that the artist’s ability to see the world is impossible to separate from his ability to move through it. From this point it is possible to go on to therefore claim that painting is as much a felt experience as a visual one. The artist needs to feel herself in her paintings, and to make it possible for others to also find themselves in the work. Farcas knows this, which is hat makes her paintings so arresting and seductive.
From “Oana Farcas: Between the Visible and the Invisible by Jane Neal”