Fat and sleek as a leech that had had its fill, the painting tumbles down upon the beholder that had been seemingly overawed by the strident impudence: her paintings ooze the whole spectrum of horrors coming out of a stark-naked ego, which has not even been covered by the see-through veil of culture, letting out into the open her naughtiest instances of longing and her most detailed debt lists ever. Ecaterina Vrana’s art is primitive, primordial even, as if it's coming down from Lascaux.
Her canvases are merely a makeshift of the cave wall which she daubs ceaselessly in pigment, hoping that one day, the cow, the sheep, the chicken or the human that were painted there will get entangled in her spells so that she may go on to feed handsomely the orgy of fears that keep pushing her around. Hence the reason why her paintings cannot be further from their being “a secondary game and purer at that” as they are instead a primary game, the most ritually unclean and raw game that there ever was: the game that brings about ceaseless desperation, the shock and awe of finding out that pain doesn’t kill, it turns into addictive existence." Erwin Kessler (translation: Bogdan Lepadatu)