‘The exhibition is made up of 60 pen and ink drawings (29/35 cm) for etchings and focuses on the theme of the search for paradise seen as an ideal remedy to the difficulties of living in the world today and as a project of hypotetical society freed from evil. These drawings must be viewed in a set sequence following the jour-ney of the four pilgrims towards their destination: the nihilist, the hedonist, the representative of utopia, and the man of faith. The four roads of paradise correspond to four main ideological and cultural trends of modern man which intertwine and are worn out by exasperated conflict. The drawings are completed by brief texts and dialogues which offer a better idea of the four characters and of their symbolic journey toward Eden. This journey is broken by fifteen stops (four drawings for each stop) which clarify the essential aspects of their search. Nihilism, hedonism, political utopia and faith do not only have social implications, but also form part of our most intimate structure as human beings of this modern world. The predominance of one of these trends can influence our choice but does not solve the inner conflict that takes place in each one of us. The message of this exhibition is to consider these aspects of the human condition in the world today. IMPOSSIBLE PA-RADISE is the third exhibition of a programmatic nature (word- image) after THE DRAGON AND UTOPIA (1983) and VIA CRUCIS ATOMICAE (1985). An audio-visual system with sli-des and soundtrack (music and voices) will help visitors under-stand the exhibition better. Camilian Demetrescu was born in Romania in 1924 and graduated at the Academy of Fine Arts of Bucarest. In 1968, not implicated with Stalinism, he became secretary of the artists of Rumania and assistant editor of “Arpa” magazine. He was decorated with the “order for cultural merits” but refused to accept it as a protest against official cultural policies in his country. Since 1970 he has lived in Italy and in 1977 moved his study to Gallese (Viterbo) where, always in 1977, he contributed to restorin a Romanesque church. Subsequently he abandoned abstract research and dedicated his efforts to sacred art. He has twice taken part in the Biennial of Venice and has staged numerous exhibitions.’