In a winter day (5 February 1949), in Sarca village, located between Roman and Iasi (Romania), was born the fourth son of Vasile and Ecaterina Nechita, people with love for the land and church. There, in the house of his parents, Mihai live the childhood years with all the hard and beautiful things of the life from the village. His way is shy and attracted to the games of the first years, make his own toys: bows and arrows, wooden swords and also from wood, planes with propeller of metal witch were turning around in the wind. On the hills near his village and especially to the vineyard he plays the horn with the bronze mouthpiece, horn that was given by his grandfather, playing a 'divine' music and during he was watching the moon, tears were streaming on his face.
Also in that time, his mother bought him a box with four colored pencils and a drawing map, where, with zeal and skills only known by him, staying in front of his house, he designed it; ennobling it with a moon on witch he was playing the horn.
The childhood, with all it's playful time, witnessed the first taking shape into beautiful, the passion for drawing being from early times an ally to him. In the firs classes, there in the village, he was drawing for everybody. Later, in the sixth class, is taken by the parents and the older sister to a bigger general school from Iasi, an important city of the eastern part of Romania. The drawing teacher, an individual with thick glasses, eternally on his school teacher's desk, put him to make once again the drawing, because he couldn't believe that the working paper could be made by the young village boy.
At 13 years old he was discovered by Victor Mihailescu Craiu, great personality of Iasi, in his studio and in his house, the young apprentice met a new world: the world of colors, canvases and frames. Between the master and the apprentice begun a special love. Craiu gave him also the love for the history of arts, telling him stories from the life of N. Tonitza, St. Dimitrescu, professors of the painter, talking about the renaissance classics, impressionists and also from his own company; for example Corneliu Baba, Sergiu Celibidache, Petre Comarnescu, etc. Also from Craiu, witch have studied in parallel the violin in the Music Academy, caught the taste for music, getting down from the wardrobe his violin with only two strings left; Paganini was singing.
After finishing primary school he entered the art high school "O. Bancila", from Iasi, but for financial reasons he remained there only for one year and got a job as decorator in a handicraft cooperative, meanwhile continuing the real high school "Emil Racovita".
During his youth period he attended the 'M. Eminescu' literary circle, flirting with poetry, his first appearance being in the 'Cronica' magazine. He also published in different collections and as a student he published plastic chronicles in the 'Amfiteatru' magazine. Some other positive influence came from the self-taught drawer and poet, Petru Arustei, who introduced him the surrealist art and the existentialism connected movements. The connections with the personalities from Iasi touched him for ever, oscillating from poetry to symphonic music, rock, beat, to theater, where he created the scenery and the costumes.
All this, and many others, have contributed to the formation of the future student in the Art Academy. He received the taste for color and composition from Craiu, but also from other painters that have been either friends or professors to him: D. Gavrilean, D. Hatmanu. His first appearance as a painter took place at the annual exhibition of the artist's community from Iasi. In 1975 and in 1977 he had his first personal exhibition at the 'Cronica' gallery, in Iasi. The critic Radu Negru wrote at that time in the 'Cronica' magazine: "His lyric is not an exterior sonorousness. The color tone agglutinates and does not look like a chansonette. The flute, as the brush, alone or in friendship with the instruments from the room with memories, sings tender notes... One sees the brightness of the colors rising from the shadow like a young gamut, crystalline voices coming from far away. In the landscape the song is pushed aside or reminded in an undertone. Mourning red, the wet blue of the dew, green of moss and ivy steaming in the fog..."
As a student he spent his holydays being a church restaurer and in the end of his studies he became a drawing teacher in Targu Ocna. While attending the lectures of his second faculty, at the Plastic Arts Institute 'Nicolae Grigorescu' from Bucharest, he met numerous personalities (V.Dragut, A. Plesu, R.Teodorescu, D.C. Giurascu) and improved in museumology. He took his university degree, the thesis concerning the problematic of the chromatical grammatik.
As a painter he attends the annual exhibitions of U.A.P. Bacau (the association of plastic artists) and he also takes part in group exhibitions in and outside the borders of Romania. To all this add private exhibitions inside his country and abroad.
His work belongs naturally to our world and includes everything that comes from tactile, in intimacy with the substance immersed into a water of mystery. The twin similarity of the two opposite terms is self sufficient, bringing more coherence to his work. The painting space is only emotional and symbolic - a space where majesty and irony come together. Other times, using the force gathered in his inside childhood, we see portraits with blue skull-caps on the heads of the characters, representing the sky that we wear the whole time - a superior reality in his poetical approach. His characters represent melodies from wooden strings. 'The miracle, the surprise, come from there, where the onlooker can continue the thought of the painter", as Andre Breton says.
He painted loafs of bread he has seen at home, at 'his mother', laying on a towel near the fruits, arranged as a dialog between feelings and the agreement with nature, in which some elements defy the gravity laws. He avoids fabulous and fairy tales. Sometimes he is approaching the art of old icon masters, preparing the wood in the old manner, with the delight of the hand work and the unique. He paints roads and trees climbing up to the clouds and sky, or fruit trees swinging between earth and sky, or paths that loose into spiral waters. He painted shipwrecks were Jesus emerges from the mast's wood-cross without any possibility of coming back. He painted the parental yoke. He stood at the intersection of the dream world and the reality with hot tears on the cheek of childhood. The emotion and the melody do not detach the canvas. He sequentially became friend or enemy with the reality purifying the image in musical lethargy.
The art critic, Anamaria Baciu wrote: "The Flamand image of the painter working in front of his model, himself, as his gesture, become study objects and come back in the mirror of painting. The painter looks inside us, challenges us to search the skillfulness. Look: apples resting in old brass pots, with their rusted yellow bringing on the lips the verdigris of the metal; fields of thousandfoldet flowers that sipped the sun of an endless summer; Chagall couples taking in their twin fly the music and the poetry; trees in flames projecting their shadows on round horizons..."
Resumed under some other key, the theme of the old musician accompanies in an undertone the trip trough the exhibition. From small frames, that speak near the painting itself about meticulousness, about the deep research of some place that was expected to be known, about the patience of listening to yourself until the end, come one by one, the blue Egyptian glass cups, with the violence of the orange faded greyly in browns, shapes made of hard to cut solids like jade, asking for simplity and accuracy.
The painting of Mihai Nechita-Burculet is a little from all these and in every new work, 'that extra' that defines the researcher, the good handicraft men, the essence of the creator, the one who was called to build, every time, the 'bridge'.