“I think of drawing as a dance,” Mrs. Bratescu said. “And a dance is a drawing in space. If you don’t appreciate dancing, these things aren’t possible to create.”
“The Lines and the Circle” (2012) by Geta Bratescu.
Geta Bratescu; photograph by Stefan Sava, via Hauser & Wirth
Mrs. Bratescu’s studio has long played an essential role in her creative process. In 1978, she made an experimental black-and-white film titled “The Studio,” and last year an exhibition in London explored how critical the space has been for her.
“My family and friends, everyone, understood that the studio was a necessity,” Mrs. Bratescu said. “But it’s not very complicated; like for many artists, it’s a place of my own.”
Magda Radu, a Bucharest-based curator and art historian, said in a telephone interview, “It’s space of freedom, delineated from the outside world, but very fertile and productive.” Ms. Radu has worked closely with Mrs. Bratescu for a number of years and curated both the Venice exhibition and the show in Los Angeles. “For artists in Eastern Europe, the studio represents a space of autonomy.”