I was born in Bucharest on December 21, 1987. I followed the art highschool of fine arts in Bucharest, but even before its completion I started studying art at the renowned Savannah College of Art and Design, in the quiet university town Savannah, on the U.S. east coast, in the state of Georgia. After one year I decided to go back to my native city, in order to study painting at the National University of Arts in Bucharest.
In the second year of study at UNArte I was the recipient of an ERASMUS scholarship in the heart of the French Alps, in Grenoble. A second uprooting, a second start. I felt like a walking bomb among the French, but both in the United States and in France I have benefited from an excellent academic environment of a bewildering diversity, artistically and technically equipped to the highest standards. Thus, I could experiment freely, without limits.
Now I am writing you from the heart of nature, from the small village Inotesti, in Prahova County, Romania. I collect dogs and cats, snails and apricots, audio books and smells of freshly baked bread. Carving, welding, sewing. The camera follows me into the fields.
But above all, I paint .
What I often propose myself is almost meant not to reach a purpose: I think the importance lies in the creative process.
The purpose behind my latest artwork (painting-graphics, collage, assemblage) is to explore the expressive properties of paint and other materials through physical and poetic processes, following the development of a personal dialogue in between thoughts and colors, emotions and memories, lines and gestures, hesitations and decisions.
If I were to synthesise in a sole phrase what I think characterises me in all medias that I have experimented so far (photography, video, performance, installation, sculpture), I could say that my interventions, steps, installations and artworks are somewhat self-referential. Self-referential in the sense that my work doesn’t demonstrate nor does it present the functioning of structures belonging to the territory of the real. But rather it embraces these structure, interrogates them, and most of I think my work conceals reality in an artistic process that interrogates the space between cohesion and opposition, between the violence of the sensational and the violence of sensation, in the pursue of a visual expression where reality and imaginary, conscience and unconscious, life and death stop being felt as incompatible. It’s hard to explain what I do, because I always do what I can’t say. I could say I follow, in a state of almost infinitely extended perplexity, the metamorphosis of my own creative self into very different appearances. I enjoy directing conflicts and dramas of a purely chromatic nature, catching the play of diverse plastic materialities. I use diverse materials, ranging from pencil, charcoal, pastels, tempera, gouache, acrylics, oils, to modelling clay, textiles, wood and metal.