"[...] Tender and impetuous, impassioned and rational-censured, hedonist and ascetic, Zoe Pop alchemically balances her ingredients with the same accuracy as a master craftsman.

            Esoteric, sometimes cryptic, hiding powerful emotions – thrilling tensions plenary perceived – her work is the result of blending the subtle spiritual irony  (and self-irony) doubled by an authentic talent, with an exacerbate sensitivity, extended by the sharpness of a painful causticity.

            Anti-classical by nature, Zoe Pop perceives the fascinating temptation of the Baroque as forma mentis through the tragic dimension - metamorphic implied in the slightly macabre-type "jokes" -, the strong attraction for mystery and paradox, and the propensity for spectacular.

            Portals, reliquaries, and apsides are privileged hallowed places, negative patterns, cavities potentially containing the positive [...].

The content is preserved at the pure level of idea-sensation, suggested but not evidently discontinued; the embodiment (partial, incomplete, suggested) is secluded, martyrized, tied with ropes, nailed, fixed in rivets and hinges, obstructioned, forced, repressed: -  the torment, and exorcism in order to preserve the purity of the idea; -  the punishment of mystified sacredness, and of convenient sterile state of mind; -  the personal approach of symbols;

The act of creation remains essentially intimate; its reception, as a permanently open process, is differentiated: subjective for each particular one, and sometimes absolutely surprising.

By conserving the potentiality state, the idea retains implicitly the absolute purity; it does not perish through the imperfect mundane embodiment. It remains an extraordinary riches of suggestions..."

           (text by Ruxandra Balaci, in 1991 Personal Exhibition Catalog)