“Dorina Mocan’s art is reminiscent of the murals of antiquity. As though lifted from a developing tank, brought forth in their original, unadulterated state, her pictures prompt thoughts of Pompeii before the catastrophe. She arranges colors against each other exquisitely; faded, light shades seem to have been layered transparently upon one another. With, however, strong accentuations; bright red rose hip breaks the silence and tranquillity of Mocan’s world of imagery. Among the artist’s props are principally; cats, birds, rams with imposing horns, women’s heads, bowls and fruit. Painted with impressive exactness.”

Lars-Erik Selin - art critic

“She was born in Romania’s myth-bound Transylvania, but has lived in Sweden for 20 years. Twelve years of art study in Romania are evident in her work. While most artists tend to restlessly reach into a blind future, constantly seeking fresh expression in new materials, Dorina Mocan leans comfortably on historical tradition, delivering classical painting with roots in the Renaissance, the pre-Raphaelites, Byzantine art and, not least, Mediterranean antiquity art.

But even if the influences are obvious, her work shows neither epigonism nor repetition. She unites mythological themes with classical symbols; and her technique in placing a girl’s face rendered realistically in pinkish shades against a flat, mural background creates a tension that draws your eye more than once.

Principally, this is symbolic painting, where each detail has its value and where women and men are not primarily individuals, perhaps not even people - more, figure-like reflections of feelings and expression.

These are quiet pictures. The surfaces show no storm; there is a fateful calm. The women’s lowered heads and eyes at first project peace and contemplation but you quickly grasp what boils beneath the surface.

This is both a garden world and a sparse Gotland landscape, populated by figures resembling people, birds resembling birds, but I get the distinct feeling I’m looking at something else. Her technique is masterful; that thrush may not look exactly like the thrush in the avian reference work but it is one of the most authentic thrushes I have seen. There is a naïve touch - also explicable as a direct legacy from Mediterranean art: for example the one-dimensional, perspective-less murals in Pompeii - which does not make her painting childish, but instead gives depth to her symbolic figurations. This is contrast-filled, living, dynamic painting, achieving a difficult balance in unifying the tradition of centuries with a modern artistic outlook and fresh, robust color treatment.”

Robert Dahlström - art critic