Painter trained in the traditional culture of the image, - the one that constantly feeds on the constituted structures of the visible world and that systematized the expression in genres, that is, identified the image as a landscape, still life, portrait, composition, etc. -, Dan Bota was constantly looking for evasion solutions from pre-existing statements, but he continuously kept the optimal distance from their elementary logic.

Thus, his painting manifests itself over a wide range, sometimes closer to the objective source, to the model in function at a given moment, sometimes closer to the sufficient expression and also, to the subjectivity in full expansion, but the mechanisms for regulating the distance are so subtly manipulated so that the image spectacularly avoids both the rhetoric of the immediate reality and the disaggregation, the flight into abstraction without memory, of pure subjectivity.

If, from a formal point of view, Dan Bota is a voluptuous analyst of the real, a consciousness fascinated and seduced by the enormous spectacle of color, a hedonist, after all, who celebrates the beauty of creation as he discovers it and takes possession of it, from the point of view of moral commitment and implicit philosophy, the face of the artist takes on a different appearance.

The painting becomes a relentless form of struggle, it is born from an obvious fear of emptiness, the exuberance becomes the symptom of a great anguish in the face of freezing and death, and the color stain turns into a vehicle of life that tends to manifest itself explosively , as the only alternative to nothing. By painting large canvases, surfaces that substitute for reality itself, Dan Bota attempts a redesign of the world, a reconfiguration of it through an almost mystical scenario - that is, by saving the raw image and by transubstantiating color.