“The painting of the young Windy Bircu possessed that metaphysical distance, that personal distance through which she individualizes her experiences, intimate feelings, so many entrances into the depths of Being.
From the symbolic image to the dramatized image, Windy's art appears as a synthesis of ideas that defies canons, commonplaces, disturbingly integrating processes and especially those acute crises of consciousness that Malraux mentioned in his essays
The creator belongs to that increasingly rare species that feeds on a past that is both biographical and historical, recovered and reformulated, from a superior need for retrieval and confirmation by appealing to other spiritual forms (see the essence of the new surrealism practiced by the artist)
Any of her works remains open to debate, to interpretation.
However, we, as viewers, are not suspended beyond Time with the theme, but plunge into a perpetual, freed from conjunctural stories.
The doubling of her characters is already recurrent and has a self-reflective function.
As a true preamble to this artist's current creation, the Windy Revelation Exhibition opened last year at the Friedrich Schiller Cultural Center in Bucharest, in which the painter presented to the public and specialists alike her double dimension: a metaphysical one, stemming from a sui-generis personal experience "grown" from the invisible threads of colors, and another of an existential nature, with psychological nuances through which the author manages to generate a true panopticon of human existence in general.
There is in the exhibition opened in the realm of Orșovei, in a blessed sacred space (the Roman Catholic Cathedral of the Holy Virgin Mary, where Windy received the sacrament of baptism) a certain tension of the image that the artist, promoter of the New Surrealist Current Windy's Revelation, managed to grade and symbolically exploit through intense colors.
The viewer will discover on their own an authentic author, a generator of atmosphere, who, in a time of violence and hypocrisy, found her vocation and salvation through recourse to painting and Truth. An exhibition, not by chance, held in a spiritual space is also an implicit invitation to contemplation. Such notable encounters are necessary today more than ever, especially to perceive and learn the hidden meanings of Destiny. In the Empire of her imagination, she always remained young, free from constraints, from the flow of any conditioning (example: the painting titled "Human Being" or "The Transfigured Face of Jesus", or the Cycle "Renaissance", in three hypostases). In essence, the internal rhythm of Windy Bircu's painting highlights with plastic arguments how the geographical and the aesthetic can be harmoniously combined. Built on the principle of visual polyphony, a painting of this kind shows rigor and persistence of working with the material
The more intense, the more dynamic the image, the more the power of the message increases. Such a creation offers not so much the steam of a life lived once far away, as the nostalgia of the expression of youth. Viewed as a whole, it actually reconstructs a long introspection, a possible urge to restart the long journey of birth. It seems that by living in such shelter-images, we have generated another existence inherited from a distant civilization. In the final analysis it would be a simple manual of aesthetic exercises to take the pulse of consciences.
True artists do not have to change the world for good, it is enough if they can transform it and subdue through memory precisely those moments that some have forgotten, exiled.” Professor with a doctorate in art psychology, philologist and art critic Armand Steriadi

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