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Here, Buzu is far from the madding crowd and far from his native Moldova, a place where "painters still carry with them a kind of burden—which you can feel in their works, but mostly in their behavior." A sort of humbleness or hopelessness, he suggests, but wouldn't name it.
Buzu seems to be a painter born too late, uncomfortable with the postmodernist "happening" or advertising which claims the status of art.
Buzu, who is not aware of any influence upon himself and thinks it's a mistake to try to put an artist in a box or on a shelf, has already experienced the opinionated remarks of omniscient critics who change their taste as the wind blows.
Fear of people like the Tigrean Buzu who would not like them, and fear that she would sense that they oppose the 16 million dollars daily revenue that the Tigrean Woman's association digs up out of Oromia and buys all kinds of leisure staff from all across the globe.
Buzu is in the middle of partly hostile, partly indifferent, partly desperate mating dance.
In the first place, what Woizer Buzu must know, if she has a will to know, is that the Oromos (as a society of nation) are/were not an endogamous nation, and that in the course of their history they have never counted on a racist ideology of blood relationship.
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