Early on I discovered my passion for art and music. It became a most important part of my life, which I still cherish. I discovered my ability to transfer my thoughts and sensitivity in paintings, and started to focus on abstract work. This journey of discovery was most exciting to me. After years of successful, international work throughout interface and surface design, together with my husband, I longed to draw again and returned to dive into my own creativity. Through my experience in design in those extensive prior years, I learned to incorporate many specific elements and ideas in my paintings, which, for that reason, illustrate a novel form of traditional painting. My paintings are created spontaneously; my expression of personal interpretation of those structures, such as wood, stone, metal, concrete and most important: “Freedom”, are incorporated in my work in a liberated manner, free from conventional norms. When I paint, I am accompanied by my second big passion, music.
Claracarat has became a recognizable name in the art landscape of our times. Her courageous, uninhibited handling of the visual arts medium offers a a new, unusual imagery articulation which we, the audience, realize with no delay that belongs to us, but in the same extent it is also us. The esthetical sense of a viewer when confronted with a piece of valuable art is that of participation, and this is what we acquire when we contemplate Claracarat’s works – both the sense of an artist defining her visual intentions, but also the realization of a contact with a mysterious, post-factum, deja vu. The modernity of Claracarat’s paintings is striking for the some viewers, and it simply incites them to physically feel those works — so, often people, not trusting their stare, reach out, trying to touch Claracarat’s canvassess (the artist having to bar them from doing so). Painting (because this is what actually we are talking about), means in the first place ILLUSION. And the achievement of inciting in viewers a fascinated, if not even a halucinatory state it’s what gives painting its unique, spiritual quality that sets it apart of photography. The public’s unease when confronted with the contemporaneous conceptual art has caught many artists in the trap-like self-fulfilling necessity of shocking the „spectators” — but this is not the art Claracarat offers us. Her painting is not just a psycho-visual game, but a visual-esthetical universe which we indeed yearn for, as we are enveloped by the, alas! relentless, self-updating modernity which besieges us. Indeed, Claracarat’s works do possess identity and also they generate an ambiental, aural halo. Her art goes beyond cultural, local limits, transcending into a much larger cultural realm. And this transcending quality gives her works a visual presence which befits both modern architectural spaces or museums Remarkable are her chromatic dystrophies which render with style and elegance a quite particular, whimsical, dreamy universe. An universe playfully brimming with material insertions – The Stone Flowers, The Philosopher, UFO, Metal Aralc, Psyhedelic Sphere, Akteus Pyramid Paradox join there the Galaxy’s orbit in a true artistical explosion. The Explosion is an explosion of beauty, and I am certain that its, and other Claracarat works’ beauty, offers defining answers — and questions, also — to our century’s art.