Taking its title from G.W. Leibniz’s Theodicy (1710), in which the philosopher argues this is the best of all possible worlds, Grecu applies this notion to art—where today’s artists have unparalleled access to visual representation. His work reflects Renaissance influences (notably Lotto and Ghirlandaio) while exploring how motifs are flattened and repeated, including through AI and ChatGPT.
His paintings feature Cunégonde, Voltaire’s heroine, a hyper-stylized Victorian figure—part Jane Eyre, part Poor Things—set against rich drapery evoking Davíd, Veronese, or even C.S. Lewis’s surreal landscapes. Grecu embraces pattern and idealization, pushing historic tropes into a futurized, hyper-aestheticized realm.
Yet beyond concept, his raw skill elevates these visions into lush, vividly rendered worlds. As Grecu states, his works oppose today’s imperfect reality, offering instead scenes of pure beauty, color, and utopian bliss.
