"Esteem and apprerciation for my teacher, Mr Octavian SASSU-DUCSOARA, a complex artistic and intellectual personality, a high level initiated into the cognition of human being and existential perceptions.
"... In a world that is burning, both strictly and figuratively, this exhibition is always an oasis where our souls, devastated by times so hostile, may still receive a draught of fresh air, and even an ounce of hope, generously detached from the love outstanding artist feels for life."
"A Poem with Flowers and Landscapes"
"...I am grateful for the chance I have to present here, in Brasov, some of my paintings, in the presence of a few personalities from Israel, a country I am so found of. I wish - and I would be deeply honoured - to have one day the joy to inaugurate a personal exhibition in the land of Israel, for the culture and civilization of which I feel a deep and strong sympathy. For 10 years, I have been a staunch presence at the Jewish Temple, in spite of the dark times of the comunism. I have learned so much from this people of a civilization many times millenary. I took part in their holidays, I helped them prepare their traditional feasts, I enjoyed their tasteful specific dishes along with my friends. I drew very close to Jewish wisdom and spirituality. Just like us, the Jews have never been a people of conquerors, they have always strived to preserve their identity, in spite of the hard times they lived in Romania. I think myself to be strongly influenced by the splendour of Jewish art and religion."
" The artist Octavian SASSU-DUCSOARA's plastic creation reveals an exquisite power of expression and a sensitiveness of composition and colour. The landscapes are elaborated, having as source of inspiration mainly the area of Brasov, but not only. Both still-natures and flowers convey something from their author's inner harmony to the onlooker. As a traveller to the Black Sea or in the Danube Delta, the artist was inspired by those places, painting "Restful Sea", "Root on the Shore of the Danube River", "The Tomis Port".
"... The painting exhibition housed by the "Charlois" Castle of Rotterdam in December 1997 - which I had the honour to open-might be the source of the answer. Please God ! For, beyond, its freshness and vigurous message in the sphere of art, this exhibition seems to be a true promise of "ever more beautiful, ever more truthful, ever more and more, ever, in any case."
"Initiatic painting could be thought of as a modality of acquiring knowledge. Initiation transcends the picturality and leads us to new fields of knowledge. Thus, the painting grants us accendence to metaphysics... The paintings have deep roots in the oiental cultural universe, especially the indic one. Let me mention just a few titles: Shiva - Shakti, the Lovers, that brings forward the message of the well - known duality between masculinity and feminity , designated as Purusha-Prakriti in Samkhia Yoga, as Brahman-maya, in the vedanta indian doctrine, or yin-yang, in the Chinese phylosophy; The Sacred Love, the Tantra, where the love is the way to unity, and is suggested by the wearing away of the shell that encloses the human soul); The Great Androgynous, where the serpent, the kundalini, the dormant energy, is awaked by bhakti, through devotion, and raises to the Spirit; The Supreme Initiation, with the six tattvas, the divine consciouness and the christian cross integrated in the anahata, the air, which is the first level following those pertaining to the animal world); The Tattva Transcendence (where the geometric symbols of the previous painting are taken over), The Steps of the Initiation); The Spiritual Ways and The Spiritual Ego or The Divine Spark (which could possibly be interpreted through the samsara theory of the reincarnation, through the maya theory of the veils that conceal God from the human knowledge, of the material darkness as contrasted to the spiritual light, or through the kosha theory, of the skeaths covering the universal body, Brahman)."
"The rich universe of the painter, originally constructed within the rigurous boundaries characterizing the solutions of composition, the searching of that rhythm which enlivens the elements of the world, all sustained by a thorough dosage of the lights, from shading to the most vigurous and intensive luminescence, all these are anticipating the art of the future."
"Acarya Octavian - Eugen SASSU - DUCSOARA
"... Here's one of the best artists in the South - East Transylvanian painting..."
"... The artist doesn't fear frights or nightmares, he gently welcomes the warm caress of the buildings, flowers, hills, trees, and water... of the whole Univers."
"... Before our eyes, one after another, paintings of different dimensions were disclosing their vivid colours, their charming attraction..."
"... His art needs no recomandation: the plein - air and the still-life, consisting of flowers, spare us of many "legalized" explanations. Born out of the harmony of forms and colours, their shiny gameout lasts firm and unshakable. The reciprocal caress of colours, forms and drawing joyfully playing together, allows us to read the "poem" of an artist to whom Muse nature inspired the poetry of painting..."
"... There was the image of a chain segment, metaphorically symbolising an aspect of our people's life... Church domes and portals, next to closed shutters through which fresh blood was dropping, elements of traditional architecture together with red flowers symbolising sacrifice, endless fields on which haycocks and large blood spots were spread: real facts, yet eyes consciously closed..."
"... Personally, I am fairly convinced the theory of the crhomodynamic painting, founded and demonstrated by Octavian SASSU-DUCSOARA, is a discovery with wide future prospects. I also believe that chromodynamic-effects based painting might become an independent genre in the visual arts of the third millenium, on whose threshold Octavian SASSU-DUCSOARA's discovery stands as an auspicious announcer."
" At the "ATELIER '35" Gallery, Octavian SASSU-DUCSOARA's exhibition is to be bracket with the experiment: the paintings are displayed in chromodynamic conditions, by the means of an electronic device, and their author has the ambition and the merits of being the first one who proved the behaviour of the colours, their change or evanescence, when exposed to the controlled action of the red and blue colour. His exhibition is an authentic chromatic spectacle and, at the same time, an invitation to the showbiz people to take advantage of the possibilities offered by the chromodynamic painting."
"... At the "ATELIER '35" Gallery, Octavian SASSU-DUCSOARA makes proof of how fertile the association between art and science could be. The painter has long studied the colour behaviour, when exposed to programmed lighting, at variable intensity. Taking advantage, in a very inteligent way, of what he calls the chromodynamic painting effects, Octavian SASSU-DUCSOARA is able to asign a multitude of chromatic identities to each of his paintings, by varying the colour of the light beam projected on a given wavelength colour that acts as a receiver. Stumping away, intensifying, vanishing to gradually reappear, as if coming from far away, the colours are built into his paintings before our very eyes , thus alluding to extremely interesting meanings..."
"... Octavian SASSU-DUCSOARA's exhibition at the "ATELIER '35" Studio c/o "ORIZONT" Art Gallery in Bucharest inaugurates, in a very coherent, spectacular formula... built on solid esthetic and scientific grouds, a painting genre in which the canvas and the frame are nothing but a casual carrier for a light-and-colour show that is widely opened to the space. The author has called it chromodynamic painting, in an attempt to introduce an original vision, distinctly delimited on psycho-physical grounds."
" However unwonted his experiment might seem Octavian SASSU-DUCSOARA sends us in an universe offering us, mere terrestrians, sunrises, sunsets, moonrises, eclipses and northern lights towards which we are carried by the proven effects of the chromodinamic painting. Anyway, the demonstration using the chromodynamic apparatus tells us much more than any possible interpreter, be it a critic of art, or the artist himself.
"... Octavian SASSU-DUCSOARA's artistic reality stretches well beyond the boundaries of the visible space. It is an immaginative reality, misterious and evasive. The power of his art allows the consciousness to expand: mind and soul, both appropriate spaces the culture of the visible couldn't wander. A stunning tension inflames the sensibility, and there is no doubt we're born beyond the conventional, in a world governed by the myth. Reform is to be expected, and a fundamental one is concerning the very way we use to consider painting..."
" Now that the exhibition is about to be closed, I feel sorry for having to part from the chromodynamic painting demonstrations that stirred so much interest in our city. It is a pleasure for me to congratulate this gifted innovator, this perfect technician, for his efforts, for his unceasing successful work, for his exceptional talent..."
"... I have always been deeply impressed by the scientific and artistic results my fellow-artist, Octavian SASSU-DUCSOARA obtained through hard and steady work."
" Thus, the image ivolves before our eyes, like sprouting out of nothing, then reaches various stages of brilliance, to gradually set down in the end. In this way, with no chromatic brutality or vulgarity, pure graphic values, or romantic poetic evocations are obtained..."