In a time when artists are often asked to be both mirrors and moral compasses of society, Dan Perjovschi continues to cultivate a radical simplicity that disarms through clarity. His drawings, inscribed directly on walls, glass façades, notebooks, and city trams, act as visual editorials: sharp, humorous, and lucid reflections on the world’s absurdities and urgencies. Refusing the comfort of stylistic formulas or the isolation of aesthetic self-reference, Perjovschi works with the immediacy of thought turned into gesture. For him, drawing is not a form but a function – a way of understanding, intervening, and keeping art ethically awake.
In conversation with Alex Mirutziu, the artist unfolds a rare synthesis between freedom and responsibility, between the notebook and the street. The conversation – occasioned by his retrospective exhibition Romania – A Retrospective 1985-2025 at the Corneliu Miklosi Museum in Timișoara – retraces four decades of practice that blur the line between art, journalism, and activism. Perjovschi speaks with the same precision and irony that define his line, reflecting on the transformations of his visual language, the risks of being absorbed by the system he critiques, and the fragile balance between usefulness and autonomy in art. What emerges is the portrait of an artist-citizen who, armed with a marker and a restless conscience, draws not for beauty, but for lucidity – for the fragile possibility of understanding the world together, one wall at a time.
