Maia Stefana Oprea

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AFTER ZĂERCS exhibition 2014 / DUPĂ ZERCȘI expoziție 2014 @ SIGNUM GALLERY

AFTER ZAERCS exhibition 2014 @Signum Gallery, Bucharest

AFTER ZAERCS exhibition 2014 @Signum Gallery, Bucharest

Organiser: SIGNUM Gallery, under the patronage of the Bucharest Academy of Economical Studies


 Master DEVIS GREBU honoured us by accepting the invitation to speak at the opening of the exhibition Continue reading


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Here’s the second video from the “Waste-first stage” exhibition.

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WASTE – first stage-

„Waste – first stage” is not only a contradictory paraphrase of the pedagogical methods to teach the realization of Still Lives, but it is also a personal system through which household items are translated into the language of abstraction. Relying on conventional painting techniques and operating with consumer objects, I am searching, at the border of the imperceptible world, for that flashing life within objects, that pulsation or stillness, that intermediate life between animal and object, that shadow or that reflection, “that mysterious element which is animal a few hours of the day and only under the action of light “(Odilon Redon,Journal). Continue reading

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see  LIFE  STILLS # 1

blue      Today was warm enough to venture in the studio, after two months of drawing in a tiny bedroom.

      I’m continuing with the “Life Stills” project. It’s    

     moving on fairly slow, for the moment I’m just

     cleaning, sorting everything out and waiting for the  

     spring art materials shipment to arrive.


  Continue reading





During the last couple of years I struggled with an issue which may be concerning many young artists:




Many years ago the answer lied in the garbage,
but I realised one can never be certain whether
a tiny sketch is good at all, or extremely bad ?

       I invite you to see two of the series of works made from such diverse sketches : 



     It took years until I could ‘sift’ my past drawings, while keeping them all in storage for future reference. Having the tendency to refer only to the quality of  a drawing, to its perceptual intensity, I had forgotten the importance of the memories which gave birth to all these sorts of life sketches. Although I’m generally more than happy to throw any object whatsoever, it became impossible to throw bits of myself filtered through drawing. Continue reading

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How does she move ?

Reading Alberto Giacometti’s book of notes “About the Irrational Knowledge of the Object”, I felt more and more the need to transform a sculpture into one active entity. Continue reading

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        The “Insomnia” triptych is also part of the ” Sleeps” series of paintings.

They are part of those paintings that I start very intuitively, and they end up face to the corner of the studio for years…I think I’ve started it in my first year at the Bucharest Arts University, and I’ve only now reconsidered it, three years after the first painting session.  Funnily enough, I’ve had to change my location 3 times during these years, and the three paintings have followed me, up on the stairs, down on top of the car, and so on … it is very tough to resist the temptation of ‘finishing’ a painting for such a long time. And yet, as I waited and waited, I realised it was almost finished, it had finished itself during these relocations and daily corner life.

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 The series “Sleeps” is a pictorial investigation centered on sleep, as the title indicates. But not the
sleep as the mind bridge to the world of dreams, but rather as a form of alienation of the being from the flow of the world.
Continue reading

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Mummification on the Porch


Mummification on the porch
oil on wood, 14 x 19 cm, 2012

This small painting has been realised having as model a sculpture.

The sculpture (realised in a personal technique combining metal, clay, textile) had in its turn as model a study drawing, created after the live model of a small child.

Developing these multiple phases in diverse techniques– from the drawing studies of the real model, to the painting after the sculptural work — leads to the transformation of the initial subject into a sort of palpable object within the painting.