The passion imbued by a constant movement speaks from Sandy Uran's paintings. Perennial opus is determined by a recognizable constant which are derivatives of the initial idea which, through the years are nothing else but variation of the same opus. The paintings are the result of compressed energy which only seems to be defined by the absence of emotions but it actually gives the maximum emotional presence. Almost from
the eternal sequence are listed chromatic maximums of red colour which are glowing hot, bother, question, excite and conquer. On the red bed of the painting expanse, the white colour is not the opposition but the logical product of the game.
Theodor de Canziani
Sandy paints a dispersive field of minute particles of special texture which is then seen as a painting made with combined techniques.
The process of application of minute details in a monochromatic transfer of a warm color of daylight and a cold color of the night sly, opens the space to the foggy gray and blue surface, which is the center of the painting, symbolizing the final, meditative concentration of the spirit.
Sandy paints the unmeasurable space which, exactly because of its unmeasurability, doesn't have the spaciousness and becomes a surface that constantly changes from being a mass of particles to the absence of particles.
Sandy Uran's paintings are reflexions, in a variation of gray and orange, of a reduced cosmic spaciousness. From the depth of the painting and from its multicolor surface emerges a light and energic continuum, which gives different dimensions and frames to the endlessness of space.
The difference of substance is sustained by grainy accumulations of variable density and positions, which all together structurally completes peaceful and uniform surfaces.
The disperse grain emerges from foggy spaces and expresses itself in gradual change from daylight to darkness. It forms an unreadable handwright which can be read by someone else, which gives us clues to possible interpretations.
The visive experience of surface, invites us to a tactil intervention and to travel to the final senses and conclusions.
These works correspond to Klein's Cosmogonias in their final aspect, but not in the technical and technological process. The paintings are the most precise description of the artist herself. On the walls of Lupoglav Castle these works offer a new artistic experience because they are "windows" in disembodiment of massive stones, which in the diametrical opposition of light and heavy, spacious and narrow, make a special unity.
Theodor de Canziani Jaksic