About

Emanuel Barica moves between two worlds—the structured space of galleries and museums, and the raw, unpredictable energy of the street. In one, art is framed, preserved, and contextualized. In the other, it is exposed to everything—wind, noise, movement, chaos. There, in the open, he draws among those who exist on the margins: the unseen, the discarded, the lost, the extraordinary. Homeless wanderers, addicts, the broken, the terrifying, the luminous, the forgotten and the unforgettable. The street does not filter. It does not curate. It offers everything—good and bad, sometimes both at once.

His art is a negotiation between these realities. In institutions, his work is studied, examined in silence, given space to be interpreted. But on the street, there is no such distance. There, art is immediate. People stop, watch, question, interrupt. Some dismiss it, others see themselves in it. Each moment alters the process. A gust of wind, a shadow passing too quickly, the sudden voice of a stranger—it all becomes part of the work. To create in this space is not just about skill, but about presence, about accepting the unpredictable.

Barica’s drawings do not exist to be easily understood. They resist simplicity. They demand something of the viewer, the same way they demand something of the artist. They are not just images but encounters—between order and disorder, permanence and impermanence, between what is meant to be seen and what is meant to be ignored. And perhaps that is the real purpose of his work: not to create something beautiful, but to make visible what is too often left unseen.