Todays frenetic world often begs the question: how might we, as adults, ever rediscover a world of frivolity and amusement? Could it be that our naivety is lost forever?

Through her works, Suzana Dan nonchalantly opens such doors to the world of dream, ephemeral joys and, as she herself puts it, the doors of her own experience. “My

painting is extremely intimate. It represents a diary of events which impress me at a given moment or of things or beings which are part of my existence.”

She hails originally from Brasov, where her father is a sculptor. “What I want with all my heart is for people to take pleasure in seeing my pictures, for them to leave behind all their problems for a moment, so that they can sense the humour, the directness, and even the vague irony they have within themselves. On the subject of irony, I hope there aren't too many people who buy my paintings just to match their living room sofa, but I wouldn't like to underestimate the good taste and discretion of my peers.”

Any sincere attempt to express a message responsibly and consistently, whatever it is, is worthy of full appreciation, she believes. She can't imagine an artificial art form as always, even behind an unattractive image, there may lie a message loaded with meaning. This is the case with people, as well as with the figures she depicts.

She had an interesting experience during the period when she was working for the department of conservation and heritage at the National Institute of Optoelectric Research and Development.

“Restoration is an extremely complex and fascinating field. It requires an extraordinary level of knowledge and dedication, especially as, in Romania, as a result of a lack of funding, restoration is still done with substances which are harmful for your health. The desire to know the intimate life of a painting from up close, how it was realised, its uniqueness, appears to be stronger in those ëdoctors of paintings' than concern about their own health.î

Suzana considers that Romanian art is now on the right track, as she feels an increasingly active current among young artists. She notes the efforts they make to connect with trends in European art. She doesn't condemn imitation in general, but the idea perhaps of creating fashionable, and therefore probably inauthentic, art. “In fact, time settles on each person where it can. We can't lie except to ourselves,” she says.

In art, as in all fields, plenty of initiative and well-organised teamwork is needed. Something which, she observes, Romanians usually do not excel in. She's proud of the profound vein of spirituality and vivacity evident in Romanian art.

Together with a group of architects, Suzana recently participated in the design of a Bucharest urban planning project with the idea of creating more green areas, more places where, in strolling through the centre, you might take a rest on a bench. Their protest, called Carantina Urbana also relates to the decline of the Lipscani area, which still awakens the nostalgia and interest of tourists.

At the BRD Tower this month Suzana will participate in a group show organised by H'Art gallery with colleagues Gorzo and Nicolae Comanescu, in an exhibition entitled The Verve of Painting, which is dedicated to natural elements. She is also exhibiting at the Romanian Cultural Institute in Berlin with the theme “Prelude to a peaceful summer afternoon.”

The opening of the exhibition in Berlin, with financing from H'Art Gallery and Pro Helvetia Foundation, was accompanied by a concert by the pianist Cristian Niculescu with a repetoire made up of pieces from the composers George Enescu, Bela Bartok and Dan Dediu. “Our idea was to create a dreamy framework for contemporary music, and an oasis of peace and colour. The motifs are inspired from a garden from childhood, for a moment of stories and people who are close to you.” Suzana likes to experience all kinds of music. In the area of classical music, Mozart has particularly influenced her. She believes that a person who does not like music is suspect. Her favourites in literature are Tournier, Saint-Exupery and Bulgakov.

In June she'll have her own exhibition in Bucharest, and in October will exhibit in Lisbon. Also, the idea of participating at a painting festival at Miercurea Ciuc later this year, where she will have to work in black and white, appeals to her greatly.

The happiness in her vision is simple enough, and at the same time precious: “It's desirable to be in harmony with others, and to be able to establish an emotional relationship with as many people as possible. My works emphasise this kind of thing. And, above all, we shouldn't lose our sense of humour for even a moment.”