Anca Mureșan (works in Bucharest and Düsseldorf) renegotiates painting as a reactive medium inscribed in our inner self. She de-territorializes painting, as she frequently "paints" on canvases and walls with bronzes, aluminium, glazed clay, murals, found objects and chosen words (either haiku-like, calligraphed poetry or La Rochefoucauld-like caustic aphorisms). By rejecting a sole, objective discourse and intermingling cultural narratives, she rather makes worlds than mere works, bringing to life pulsating beings instead of slick images. Time and memory play a key role in her work, that can be better described as an aggregate of contrasting experiences and matters fused together in a dense body of visual energy, following deeper compositional affinities that transcend the apparent heterogeneity. In her own words "Whoever starts with a clear shape or idea, starts with the end. Chaos subverts the underlying concept of order beneath any regular disorder. Providing anti-hierarchical forms and thoughts, I pursue an expanding, vital matter." Das Auge (2021) profited from this perfectly formalized chaosmic research - it is a continously unstable canvas, successively painted while turned on each of its four sides. Each time a new work was achieved, with its own working plan and formal dynamics. Finally, they succeeded to accommodate each other in the same canvas. No single definition of "the work" can be reached. But the cohabitation of the four different points of view and their concomitant functioning as "the work" is the focal point of Anca Muresan's strive towards "coincidentia oppositorum".