All of Czernin’s work to date is based on a complex investigation of the concepts and images – frozen in floral ornament - of a nature that reflects the existential states of the human subject as if in a mirror. Her work is seductive; it seduces the eyes; lures us into the remembered world of blossoming gardens and splendidly decorated rooms. Bizarre shifts of motion and tumbling ecstatic states seize the body within the floral décor of the depthless, weightless space. The delicately coloured, usually monochrome drawing that links body and ornament across the surface entices us to look closely. As if it were moving in a labyrinth or a puzzle, the eye searches for the place of true occurrence, for a basis on which man and nature can create a unity which – as desired or dreamt unity – actually contradicts everyday experience.
So is it a struggle to eradicate the garden of paradise or an attempt to enter into its cycle of emerging and passing which leads artists such as Adriana Czernin to become embroiled in the floral network of their own artistic cultivations? An awareness of mankind’s duel with nature is as old as the dream of paradise. “Subdue the earth” may be viewed as the motto in this struggle – certainly the city-dweller has already lost nature as a resource for his own experience. In the strictest sense of the word, he has buried it under concrete. Nature is mere cultivation; today its most beautiful examples can scarcely be distinguished from their plastic reproductions.

Annelie Pohlen, Zwischen Schwerelosigkeit und freiem Fall; in: Galerie Martin Janda (Hg.): Adriana Czernin. Frankfurt a. M. 2005, p. 3-20