With Anatomy of Silence, Estopia presents the first solo exhibition in Lugano by Diana Serghiuță, an investigation that moves across the territories of body, memory, and perception. The exhibition introduces a pictorial language built on partial apparitions, gaps, and erasures: a visual grammar that inhabits the threshold between what surfaces and what withdraws.
Serghiuță’s practice unfolds as a study of the fragile architecture of the psyche. Her images do not describe; they insinuate. Figures emerge as emotional deposits, transient forms that resist fixation. Painting becomes a site of sedimentation, where matter holds what narration can no longer sustain.
Through thin layers, veiled transparencies, and chromatic interventions reduced to the essential, the artist constructs an introspective and unsettled imaginary in which identity, gesture, and emotion compress into an unstable balance. Anatomy of Silence positions itself as a reflection on the visible and the concealed—on what remains when the image becomes crack, threshold, or echo.
Diana Serghiuță (Brașov, 1985) is a visual artist living and working in Arad, Romania. She studied at the Faculty of Fine Arts and Design, Department of Painting, where she completed her Master’s degree in 2010 and her PhD in 2016. Her research explores the complex and delicate terrain of the human psyche, giving form to images that oscillate between the real and the unreal, between memory and its transfiguration.
In her works, new evocative realms emerge: intimate spaces marked by strongly personal inflections, where mysterious narratives appear on the verge of unveiling. Elements of her individual history are placed within a renewed context, filtered through a distinctly feminine and fully contemporary sensibility. The result is a poetic yet incisive visual universe, in which personal experience intertwines with a broader symbolic dimension, capable of establishing an immediate emotional dialogue with the viewer.
Her practice lies within the field of contemporary figurative expressionism, with clear affinities to neo-surrealism. The artist questions the very limits of visibility—what remains when emotion is reduced to a minimal gesture, or when a contour seems to erode in the act of appearing.
Muted chromatic interventions and a rigorous control of materials construct a restrained, essential, yet remarkably incisive visual vocabulary. Anatomy of Silence unfolds as a mapping of presences and absences: an inquiry into the subtle tensions that define identity not as a fixed form, but as a fluid, permeable process, continuously redrawn.
The exhibition invites a slow, almost meditative encounter: a space where what surfaces and what fades coexist, and where painting becomes a threshold between matter, emotion, and memory.
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