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(...) The motif of the latest works, brought from Italy, is about the Human, even though only the chimney smoke evokes his presence. It is a cycle of beautiful contemplative images. Exquisite. In these images the apparent realism and the apparent abstraction meet in a very unobtrusive way. Similarly, in a delicate way, the painter joins the shadow with the light. In this way, Serge Vasilendiuc makes inquiries on the inner beauty. It is because these images are beautiful. They compose themselves in a meaningful storytelling. The artist is modest. It is a beautiful quality of sincerity. The only one. Serge is a remarkable colorist, he mastered to perfection the way in which he builds the chromatic construction of his paintings. He is fascinated about multiple realities. Mircea Eliade is near to him, as well as the Polish quintessence - his family, the relocation to Cracow. It is a fascinating opportunity for an artist to be present in two cultures, to be able to extract from both. It is a fascinating creation, in which there is felt an important fingerprint of the artist's feelings and experiences. And there is also felt the sincerity and veracity of his works. Cordially congratulating this state of possession, I wish him success in his future endeavors.

Piotr Jargusz,
Cracow, 25.XII.2008

(...) Serge Vasilendiuc cannot hide, besides a generous lyric disposition (pairing the images with texts in a haiku style), a nostalgic invocation of ancestries. Yet, this is not accomplished in a traditional way, but in a profoundly spiritualized manner. The low horizons of the originating space imprinted to the vision calmness and tender eurhythmics, inserting in the surface chromatic motifs and accents with an openly symbolic meaning. Most often, the invocations of the existence are projected on the screen of mysterious and tense nocturnal registry, encrusting the free manifestation of the brightness which emanates from the vegetal regnum or the pulses of interiority. An atmosphere of astral night haunts obsessively the images which are converted in figurations of a smoldered, reposeful, purifying enchantment, recalling the melodiousness of Chopin's nocturnes. Even the illuminations of the solar halo experience slashing and shadowing, committing stiffness and embankments. In one of the compositions, the exalting dance of four silhouettes suggests the will of breaking from the ties of a strange hindrance, launching themselves freely in space, among diaphanous scarves, impersonated in redeeming wings. Finally, in another transposition, they carry us through the arches of superb bluish silk, disturbing our ecstasy with a dramatic black horizontal insertion on which the cross, the symbol of redemption, is cut in firing red...

Negoiţă Lăptoiu, 2003
[Contemporary Romanian Artists' Encyclopedia]

(...) In a brush with notes anchored in the history of the painting, but which loudly speaks about the tendencies of the new millennium, abandoned in the flow of ideas and images as they appear in subconsciousness, Vasilendiuc treats the refined nuances, penetrating in the depth of things and even beyond them. An urban and ethereal landscape painter, the artist develops pure moods with an inner remarkable power of organization. One can easily notice a metaphysical perspective in the manner of de Chirico, where tonalities have a modern function pushed towards expressionism or surrealism, as in the works with harlequins executed in an academic meticulosity, or works with flowers or houses. The road, the house, the steeples, the flower, the street lead to metaphorical various events, on multiple plans, having as axle the flowing of time. Here, the ecstasy goes beyond the dream...

Michaela Bocu, 2001

(...) The present works prove a conceptually artistic approach of excellence, the artist having a deep philosophical culture. The painter goes far beyond the limits of his art and offers a serious perspective of the mystery of the human being and its relationship with the world. Serge Vasilendiuc starts his approach and sees it as a unique, serious reading of the human and cosmic universe. He proves a special gift in using colors, in dosing nuances and also a sense of poetry. His works are accompanied, like the Japanese haiga authors with authentic poems which can be read not only as prolongations of the artistic universe. Knowing what austerity means, as he learned the lesson of the essential from painters like Juan Gris, Picasso or Modrian, Serge Vasilendiuc is a complex and refined artist whose evolution has to be watched with trust as it makes the eye and the mind rejoice.

Ion Cristofor, 2000

(...) Building antinomian structures, thinking deeply philosophically and having a visual way of seeing things - is Serge Vasilendiuc's way of looking upon things, and he deliberately gives life to them through the synthesized language of his paintings. Hence an utmost economy of form, the abstract being transformed into concrete outlook. Time and space are obvious in his works and the colors he chooses go well with the themes. Thus, dark hues showing the deepness of the universe are mingled with bright hues; memories step in sometimes and then the atmosphere of concrete things can become symbolic.

Németh Júlia, 2000

(...) The proper pictorial quality of Serge Vasilendiuc must be searched in the special texture and ingenious compositions, in his skill to transfigure by means of art a plain wall or a dull sky, offering mystery to the atmosphere of the painting in the manner of de Chirico. Somewhere else, the decorative bursts into well adjusted chromatic fantasies. He is indeed a gifted artist and his effort is revealed in magnificently inspired effects.

Ioan-Viorel Bădică, 1999

(...) The works of Serge Vasilendiuc have a philosophical-contemplative ambition which invite, on the other hand, to abyss. Above all, a certain South-American air is striking, a sort of simile-Aztec atmosphere, stylized but stirring. Astral fish, an anthropomorphous sun, buds with a look of intersected stain glass, a chimerical landscape, a drought with a peculiar chromatic, complicated germinations composing mysterious hybrids, or a country side night as a concentrated bedtime story - represent the matter of some of the works consumed by the public. The painter is obsessed of the image of sphere and of the circular perfection. It is not pointless the gloomy Moon and the cryptic Sun combine together in an antinomy couple, in a yin and yang visually adopted formula, highlighting the coincidence of opposites.

Ruxandra Cesereanu, 1999

(...) His ambition is to obtain a maximum of artistic effects by drastic simplifications in the chromatic as well as in the formal plan. Vasilendiuc puts order in the plastic construction by a rigorous logic in which a series of symbols seem to have significant place, symbols which tend to become an emblematic repertoire for his creation. The aspiration to a refined art, in which the painting is decanted, step by step, to acquire an expression of severe spirituality, is more than meritorious and the achievements acquired so far give right to the commitment on such a temerarious trajectory.

D.N. Zaharia, 1996

(...) He is a fine art poet of anguish, without becoming anguishing. Vasilendiuc is delicate and full of gravity, from which emanates an ample feeling incarnated in chromatic, in which he expresses himself marvelously. The dense brush, worked in arched movements gives a sort of rigidity of expression on which his poetic melancholy is well superposed. He liked Paul Klee or he only understood him, anyhow he does not remain in a single point, he oscillates, not from incertitude but from a strong personality which knows how much need of oneself is in painting and it that it is not a state of transfixion. He loves the show and he puts emphasis on it because he does not pass careless on the stage of "human comedy", from which he knows to choose the moment as the element of eternity.

Aphrodita Theodorescu, 1995