Maia Stefana Oprea

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Biennial of bibliophile book and object-book / Bienala de carte bibliofilă și carte-obiect

[EN]        The ‘In-Trigâ Bookcase I’, started in 2015, was awarded a mention in January 2018 at the first edition of the Bibliophile Book and Object Book Biennial, which took place at the National Literature Museum of Bucharest.


The National Museum of Romanian Literature, in partnership with the Ministry of Culture and National Identity, the Romanian Academy Library, the Union of Fine Artists in Romania, Romfilatelia and the National Defense College Foundation organized in 2018 the Bibliophilic and Book-Object Book Biennial, 1st edition. The double opening took place on the National Culture Day, Monday, January 15, 2018, having invited Mircea Dumitrescu (visual artist) and Pavel Şuşară (art critic); amphitrians: Ioan Cristescu, Director of the Romanian National Literary Museum; curators: Gabriela Dumitrescu, Monica Vasinca, Mirela Trăistaru, Pavel Şuşară; project coordinators: Dalina Bădescu

The theme selected for the first edition of the Biennial was the theme that gave coherence to the entire cultural year, Unity, thus enrolling among the projects that aim to bring to the attention of the general public the national cultural values ​​by presenting them through an interdisciplinary and multidisciplinary discourse .


[RO]          ‘ Biblioteca In-Trigâ I ‘, începută în 2015, a fost premiată în ianuarie 2018 cu mențiune în cadrul primei ediții a Bienalei de carte bibliofilă și carte-obiect.

Muzeul Național al Literaturii Române, în parteneriat cu Ministerul Culturii și Identității Naționale, Biblioteca Academiei Române, Uniunea Artiștilor Plastici din România, Romfilatelia și Fundația Colegiului Național de Apărare au organizat în 2018 Bienala de Carte Bibliofilă și de Carte-Obiect, ediția I.

Dublul vernisaj a avut loc de Ziua Culturii Naționale, luni, 15 ianuarie 2018, avându-i ca invitați pe Mircia Dumitrescu (artist vizual) și Pavel Șușară (critic de artă); amfitrioni: Ioan Cristescu, Director al Muzeului Național al Literaturii Române; curatori: Gabriela Dumitrescu, Monica Vasinca, Mirela Trăistaru, Pavel Șușară; coordonatori de proiect: Dalina Bădescu

 Tema selectată pentru prima ediție a Bienalei a fost chiar tema care oferă coerență întregului an cultural, Unitate, înscriindu-se astfel printre proiectele care își propun să aducă în atenția publicului larg valorile culturale naționale, prin prezentarea lor prin intermediul unui discurs inter- și multidisciplinar. 

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Tablets/ Tăblițe

[ EN]  IN-TRIGÂ BOOKCASE. Tablets are created and organised according to several themes that correspond to the words of my personal dictionary: PAPER, LINE, DEATH, STONE, SKIN, REALITY, SENSATION, DUST.

TABLETS are hieroglyphs of my studio life / mental structures that oscillate between book and paintings / tool-containers. A tablet can be viewed, read, touched, smelled, and involving the viewer’s body. The tablets have two sides: image (sketch / photo) and quote (writing / photo). Several tablets are organized into bookcase bodies and correspond to the structure of the Big Trigâ Dictionary. A tablet involves: stirr-ing, sift-ing, stor-ing, preserv-ing, prim-ing, lock-ing, stack-ing, sand-ing, transferr-ing, cutt-ing, wett-ing, dry-ing , us-ing. On the one hand, I selected and cut my old artistic sketches, which I transferred to the tablet support, and on the other I proceeded by a similar selection and adjustment, respectively, of the quotations extracted from past and present.

Below are some of the over eighty tablets that make up the installation


sketch for a future ‘skin’ tablet

[RO]  BIBLIOTECA IN-TRIG . Tăblițele sunt create și organizate în funcție de mai multe tematici ce corespund cuvintelor dicționarului personal: HÂRTIE, LINIE, MOARTE, PIATRĂ, PIELE, REALITATE, SENZAȚIE, ȚĂRÂNĂ.

           TĂBLIȚELE sunt hieroglife ale vieții de atelier / structuri mentale care oscilează între carte și pictură / unealtă-container. O tăbliță poate fi privită, citită, pipăită, mirosită și implică corpul privitorului. Tăblițele au două fețe: imagine (schiță / foto) și citat (scris / foto). Mai multe tăblițe sunt organizate în corpuri de bibliotecă și corespund structurii Marelui Dicționar al Trigii. Tăblița implică: amesteca-re, cerne-re, chitui-re, conserva-re, grundui-re, lăcui-re, stivui-re, șmirghelui-re, transfera-re, tăie-re, uda-re, usca-re, uza-re. Pe de o parte am selecționat și tăiat vechile mele schițe plastice, pe care le-am transferat pe suportul tăbliței, iar pe de alta am procedat printr-o selecție și ajustare asemănătoare, respectiv a citatelor extrase cu din lecturile trecute și prezente.

Mai jos sunt o parte din cele peste optzeci de tăblițe din biblioteca In-Trigâ


YOUTH – by J.M Coetzee

     I’ve just finished reading the second part of J.M Coetzee’s autobiography, his follow-up to Boyhood, namely Youth“.

"Youth" watercolor on paper, 2013

“Youth” watercolor on paper, 2013

 Beginning with the second half of Youth, the novel felt mostly black and white. What struck me was a detail, really, but it had a major impact on my further reading. Continue reading



” The Island of Another “, oil on canvas, 100 x 140 cm, available for sale, 2009

The word island from the title represents the island of a novel written by a French writer, on which the Internet does not provide much information, besides the fact that he is still alive and that his work can easily fit into four suitcases. It’s about “The Island of Another”, of the unmistakable Jacques Perry.

There is neither time nor place for a summary of the book, but I advise you to put your hands on this stunning novel, a true masterpiece of loneliness!

The painting “The Island of Another” illustrates one of the novel’s themes: the double duplication.

A storm forced the hero of Jacques Perry to dock in the evening on an island. He finds shelter between the walls of a house whose owner is away, and while exploring so deeply the existence of the owner, without realizing it, he duplicates into the life of the other .

In other words, the characters in the painting “The Island of Another” experiment what G. Bachelard called the dual status of duplication.

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The first artwork of the „Births” cycle – the one that also stands for the title – is a self-portrait in shadow, also remains the most intimate one. Through its visceral feeling, its vulnerability. As a cry for power and of solemn weakness.

BIRTHS, mixed technique on canvas, 120x100cm, available for sale at 1056 EUR

BIRTHS, mixed technique on canvas, 120x100cm, available for sale at 1056 EUR

When I realised this project, I believed that the „Births” cycle represents a new age of my painting. In addition to what concerns the crystallization of my chromatic instincts and the dynamic compositions, it stands as a radical affirmation of an inner burning that descends into depth and comes from the depth. This inward combustion was meant to expose the interior through an explosion of the form. Therefore, I myself assisted at the birth of a language (extremely personal and intentionally without conceptual „air-bag”!): the form escapes from the empire of fantasy – that being from the „institution” of symbol ! -, unchaining a self-devouring confrontation with its own vitality. However, never devouring itself. I was looking for the restauration of an instant that cannot anymore organize oblivion.

In the introduction of the book „The Life of Forms”, which profoundly influenced me theoretically, Henri Focillon writes:

The old antinomies, spirit-matter, matter-form, obsess us with the same authority with which the antique dualism of form and contentis obsessing. Even though some slight trace of signification or commodity still persists in these antitheses of pure logic, whoever wants to understand what is happening in the life of forms must begin by liberating oneself from them”.

This specific time-frame (from a certain spiritual impulse to the impoverishmentof the formal matter resulted from the reproduction of this impulse into space) has been determined by the capacity with which I was able to freely movewithin the interior of this inner environment, imposing myself the abidance by a sincerity towards myself, that I consider being one of the most severe and tormenting rules of creation: intactly preserving the abisality of the primary sensation, by suppressing the tentation to repeat the form of that abisality through the same thematical variation on the respective form.

Although during my past I have taken on doing over certain themes or painting compositions, it is now the first time that a form has imposed as a profound obsession, giving rise to a life in motion, within a world that is transforming along with it. I must admit, it was hard for me to part from this obsessive form, but my wish was to immortalize the various development phases of something that could have represented a possible manner, thus hindering the birth of a formula, that is to say of a sudden interruption.

In the next posts I will show you my other works from the “Births” cycle. You can also download the pdf.version I have made for the exhibition of these works at Melenia Art Gallery (  in November 2011 :