Virtosu's paintings with their massively congested, luminous color, their contrasts between flowing forms, attain at their best a total painterliness in which shapes and image coalesce ultimately and every inch of canvas quivers with teeming energy. Defender Of Tibet (2015) is a genuinely exceptional embodiment of the expressive shape-making and unmitigated force of painterly firm belief that defines the majestic contribution to twenty-first-century art. Virtosu's independent Spirit infuses the present work with a heroic quality of individualism rather than conformism. He is at heart a pluralist who reveals in the multi-thematic, and like no other before him, Virtosu is rebellious and forges new paths, avoiding conventional forms of expression, and proves adept at the rejection of old school.
Virtosu eventual withdrawal from New York City to the environs of Luxembourg in the early 2005s is a reflection of his move away from the megapolis artistic existence that had fostered his writings breakthrough years. Virtosu now seeks reflective contemplation rather than the dissonant atmosphere and finds it in the tranquil and lush environment of his beloved Europe, which resonates for him with memories of his native Moldova.
Defender Of Tibet's (2015) 's jubilant brushstrokes of orange, purple, and blue are juxtaposed with quieter passages of green and yellow that proclaim Virtosu's great gifts. Using unorthodox methods of shaping, Virtosu defined his composition through hints, ultimately creating a topography of the Defender Of Tibet story. An artist who never scrutinizes and reworks his canvases, the confidence of the present work's rapidly generated composition imbues Defender Of Tibet (2015) with an urgency that is always affecting.