Exodus 

Editor: Here we have Sabin Balasa’s painting, *Exodus*, rendered in oil. The rock formations dominate the composition and frame these tiny figures. It gives me a somewhat surreal feeling; I’m wondering what to make of it all. How do you interpret this work? Curator: This painting strikes me as a powerful visual metaphor for displacement and the search for sanctuary, viewed through an expressionist lens. Consider the title, *Exodus*. What historical narratives and contemporary sociopolitical issues does that word evoke for you? Editor: Mass migration, definitely. Leaving home, often under duress. Curator: Exactly. And what do you notice about the figures themselves? Their scale, their positioning? Editor: They are so small compared to everything else, making me feel how vulnerable and exposed they are. The cavern seems to protect them, even if the figures are in motion. Curator: Balasa is positioning these individuals within a landscape that feels both protective and precarious. This relates to many people whose existences are in danger. He is emphasizing their vulnerability in relation to larger forces—political, environmental, even existential. Can you consider it an appeal to action and solidarity? Editor: I didn’t immediately connect those things, but I see what you mean. It shifts the focus from a purely aesthetic experience to something much more engaged. Curator: Art, particularly socially conscious art, rarely exists in a vacuum. What we see—the composition, the colors, the forms—are often deeply connected to the world around us and to our own lived experiences. Editor: That's really insightful. I appreciate how you linked the visual elements to broader sociopolitical themes. It gives the artwork a completely different weight. Curator: And hopefully inspires you to continue exploring art with these intersectional considerations in mind.