It is been written about her...

Biography and artistic personality
Aurelia (Zlata) Pusar was born in Pula (Istria-Croatia) in the june 1948 and currently lives and carries out the own artistic activity in Turin, Casale 46. 
The critic Oberti writes about her: 
" it is seemed impossible to me, since the first one long encounter with Aurelia Pusar, to separate the woman with her cultural suggestions of the artist with the thousand resources, with  archaic and modern expressive means, tumultuous or embryonic. Has been undoubtedly her natural instinct to make so that she dedicated herself  with extreme care and with passionate engagement to the art , to the fresh and wincing landscaped visions, to the figures and the faces, to the ideographic immediacy of determinate drawings. Most sensitive interpreter of the nature and the life  she has proceeded from the figurative one (does not give to underrate her first jobs where the ceramic material "impasto" was crystallized in formal idealizations) to a post-expressionism until reaching, with thin or tumultuous technique, to a no temporal dimension of the life and the reality. 
To understand the origins of her emotional state, her chromatic researches, her world of visions and emotions, the sharpness of the sign that as ancient writing generates the compositions, has undoubtedly the value of one discovered, not spoiled from the tired rearguard or  from the boring (or dull) vanguard. And her paintings, expectable or unexpectable, on the walls appear trembling for the energy that communicate, I can read in them the engagement of an able temperament of enthusiasm are in the simpler things are in those most complex ones. 
Chromatic games, elements of signs, scenographically dynamic abstractions, surrealistic accents not without, in the set, something of ornamental and oriental forms, lose themselves in the evanescent reality of the dream and become complicate tangles of iconic primitive structures. It goes from itself, then, as around the several subjects  are opened unthinkable phenomenal images, as the rhythm of the contours and the joint of the plans can create  every kind of illusions on the painted surfaces. For which the implication of search and culture it appears more and more obvious, the lucid intuition and the appropriate calculation giving the hand in the measure in which the most various sollicitations, like lavic taps, they are folded to the artistic language. 
The color of Aurelia Pusar gives shape to the unseizable space, to the correlation between it and the masses, to the luminous refractions that coverge to give to the representations the flares of ancient mosques and solar reverberations  of fairy cathedrals . Structured not only in visual terms but in some way psychological, the metamorfiche visions detaching itself in a sussulto chromatic from the natural dimensions become synthesis of intellectual and lyric language then, originates them and deep, two aspects, these last ones, of one same sensibility. 
The painted tapestries, pertaining to its last production, face in iridescente way the color, the sign and the writing. The design, to large sections, delineates on the surface a figurative harmony. E' this the first followed creative moment, for successes to you rich agreements of born members for spell, from a " fantasiosa drammatizzazione " of points gilds to you in fast succession. They are they to create, in the context of the painting, elements comparable to the charming images orient them and to ancient Indian paintings. 
It follows the choice of a base color, point of departure in order to recall the successes to second distribute the morbidezza to you of the first one. E' a continuous search and the design in an ulterior passage embraces all with of the painting, it is unfolded and it described giving unit to all the chromatic context. 
Finally, in an ulterior and last phase the creation of one passamaneria adapted " to frame " the complex offers to the images the possibility to introduce itself with dignity. 
The technical prodigiosa of Aurelia Pusar allows them to create magical atmospheres, all a world of mysterious apparitions, of enigmati encounter to us. The all obtained one with compiutezza forms them and coloristiche transpositions digging in the deep one of the own sensibility, in a constantly opened dialectic-poetico relationship to the fantastically arabesque dimensions and the visceral-geometric signs ". 
Antonio Oberti, critic of art


from:  - ILLUSTRATION ENEL - n. 3 - year 1994 

....... Finally we will stop ourselves on as the social relationships and the way with which these come lived, beyond to the love for the art, can - it is the case of Aurelia Pusar - produce one able explosive mixture to cure whichever evil indeed: an example in order to remind to the lazy man to always fight without never to put the fine word to the hope: 
"Dove there is the pain, the ground is sacred here ". E' a thought of Oscar Wilde who Aurelia Pusar us confirmation wide with its human and artistic adventure. 
" I already painted from much time - tells Aurelia - but the carried out one in my artistic career, and not only, I have had it to the next day of a most serious incident to cause of which I entered in coma for some time ". Always in the same year, 1981, the artist meets also the large love of its life, sweeping, therapeutic how much its painting, much fort to allow them to exit from the abyss in which it was sealed with lead. The magical grass of the art in union with that one of the love has helped very many - the pittrice says to me -: one able explosive mixture to cure whichever evil ". In little Pusar time cinquantina of pictures paints one transmitting on its burlap the had during the comatose state, real but incorporal extrasensory experiences. They are last from one descriptive painting to one symbolic, plus intimista " 
The materials with which this " reporter of the spirit " works they are multiple: from the linoleum to the tinfoil worked with the cotton, from the polistirolo to the cork, the ceramics in order then to pass to the papyruses, to the woven ones, the glasses. Protagonist, always, the lively presence of the colors that a constant search of materials and techniques renders caleidoscopici in the substance and the effect.

Maria Consolata Corti, journalist and writer


With the compliments of the European Center of Cultural Initiatives in Rome

Critical documentation

The Artistic Director: 

Aurelia Pusar is the most particular artist that it produces tapestries, of large dimensions, paintings on stoffe, and often it works also on the glass and the papyrus. Immediately we can say that the characters more obvious than this art they are the decorativismo and a typically orientaleggiante taste. We say but that the means adopted from our author are only a way for distaccarsi from the " large culture " for being able to work in full freedom and to give vent to its enormous imagination. The large protagonists of the art of the Pusar are two: its fantasy, exactly, and the color. The drawing up of the color on the tapestry happens round to a design from the large sections characterized from one harmonious figuration. The Pusar then begins to color leaving from a color base on which then it will recall all the successes distributed to you in relationship with it. The result is all magical, surrealistic and a rich imaginary mysterious atmosphere world, just from ancient east. Pure and innocent, but not infantile, conscious a world rather than that that is. A rich world of colors, emotions and feelings; sure atemporale but however legacy to the persons, their fantasy. A rich world of comunicative, a large energy and wants to make and to transmit to the others that that test within. That one of Aurelia Pusar is a stiff chromatic adventure to try the expression of just I crosses shapes originates them and lacking in every intellettualismo: 


to the Master 
Aurelia Pusar

"......... To vary between figurative and it informs them, figurative because in sure pictures they are obvious faces, landscapes, architectonic structures, figures in motion, objects: it informs them in how much often the Pusar is entrusted to the single color for one active participation and outcomes to indovinare. A philosophical emphasis, an intention of shapes, many hypotheses to insert in the truth, this it wants to say the artist of Pola, nearly a stiff chromatic adventure to try harmonies and rigorositą to fuse because they are always born renews events to you ".

Vittorio Bottino, critic of art

........... A lot, said, of its art, is fruit of the sensitiva communication, is connoted with the unconscious pulsioni, but we would not assert null if we did not pick, in turns out to you more and more important, the dominant impulse to the decoration. Aurelia Pusar is not never sluice in the " picture " like in a kind resolutive self-sufficient person and, but it has conquered, with not little hard work and worry of search in the materials, the possibility to express itself with supports and forms to you that they satisfied the taste of the decoration. Today it produces tapestries painted on stoffe of large dimensions, but it attracts the glass to it and the papyrus, where its designs to china take name of " messaggi".Non are doubt that the support assumes already value of preamble to the expression, but its precious ones stoffe painted have privilege to before engage it and over all. Here Pusar not finds limitations of measures and of invention and here, more than in pictures, we can to observe genesis of its art that, if it is true that it does not have null of intellettualistico, is not only the fruit policromo of the spontaneismo. The pittrice feels the decoration, tries to say which! While there is the taste orients them, sure innato, of the filigree of the embroidery of the webbing with the color, but outside or in contrast with handicraft artifice. Its small miracle is innocence of the fantastic development, than driven in assonance of separated proposizioni is made by means of one, Comparable to the musical developments in the composition. It makes an impression, obviously, the engagement, the hard job that ties Aurelia Pusar to goes tapestries to you. 

Armando Capri, critic of art

"......... An exceptional sensibility coupled to able a ready and indagatrice intelligence to pick up and to fix in an extraordinarily active spirit every sign of present experiences, passages and future (those that foresee), outside make of Aurelia Pusar one pittrice of the all series, than ognora, translate careful and specifies, its iridescente and refined inner world, with the connaturata anxiety always to exceed itself.
Its pittoriche compositions are true carpets, skillfully composed of spin of every color, echoing exotic atmospheres, emerged in she from the mystery vibrating and colored of its creative pittorico talent ". 

Dr. H.c. Maria Negri Ved. Veroni, 
prize of the culture of the Presidency of the Council of Italy

"......... Its exceptional inventiveness sconfina in one most personal gestualitą, expression alive of its creativity, when the colors are offered with chromatic rhythm in harmony, when, with urgent chromatic force, and to aggressive times, signs and colors they are offered in dissonances ".

Maria Santoro, critic of art

"......... it has faced the not easy topic of the figure, of the knots, we have seen its works where animals their natural istintivitą, and much landscape appeared with all amatissimo, rendered in its structural essenzialitą. But for everyone of these topics the landing place more important sure has been the color. 
...... And from with chromatic the essence of the evoked truth emerges, not for descriptive compiacenza, but to strengthening of a speech that stretches to conquer its identity of emotions and images ".

Umberto Zaccaria, critic of art

"...... iniettare sure a mysterious propellent in the matter, making it to explode and to give to produced detritus the feeling of an escape without aim seems is already exclusive faculty of Aurelia Pusar. Once dematerializzate persons and things the artist reveals with its colors traces of primordiale spirit to demonstration of our common origins....". 

Ugo Zappavigna, critic of art

Web composition edited by Carlo Pizzala