Maia Stefana Oprea

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Zăercs buried at 2 Mai

[EN] The video Zăercs buried at 2 mai was shown in 2018 in the group event “Mills and Treasures” which took place at the National Literature Museum of Bucharest, as well as inside the installation “In-Trigâ Tent”, in my solo show “Nests” at Mogoșoaia Palaces.

The performance of burying Zăercs is a way to do a kind of mourning, to bury my regrets, to seek the innocence of the possibility to know the past again, it is perhaps the incredible hope that the Zăercs will not be taken by the waves and I will be able to dug them over years and years and rebuild them. That’s what I told my daughter, who was born two months after this video.

The Zăercs are dismantlings suggesting body fragments (legs, arms), they are very similar but without individuality and lacking a declared identity. Presently, the zăercs are a recurrence in my artistic path, in the form of drawings, objects, sculptures, paintings, photographs, performances, video, etc., as elements subject to degradation and reparation, disappearance and restoration.

[RO] Videoul Zercși îngropați la 2 mai a fost prezentat în 2018 în cadrul evenimentului de grup “Mori și comori” care a avut loc la Muzeul Național de Literatură din București, precum și în interiorul instalației “In-Trigà Tent”, în expoziția mea personală la Palatele Mogoșoaia.

 Performanceul de îngropare a zercșilor este un fel de a-mi face doliul, de a-mi îngropa regretele, de a căuta inocența posibilității de a cunoaște din nou trecutul, este poate speranța incredibilă că zercșii nu vor fi luați de valuri și îi voi putea dezgropa peste ani și ani, pentru a îi reclădi. Căci așa i-am povestit fiicei mele, care s-a născut la două luni după această filmare. 

Zercșii sunt dezmembrări sugerând fragmente de corp ( picioare, brațe), ei fiind foarte asemănători, dar fără individualitate și neavând o identitate declarată. În prezent, zercșii sunt o recurență în parcursul meu artistic, ei apărând sub forma unor desene, ‘obiecte de activat’, sculpturi, în picturi, fotografii, performance, video, etc., ca elemente supuse degradării și reparației, dispariției și refacerii.

DEVIS GREBU in the opening of AFTER ZĂERCS exhibition

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Master Devis Grebu honoured me greatly by opening my exhibition AFTER ZĂERCS @Signum Gallery in Bucharest:

EN: … she is a sort of locomotive, a locomotive that doesn’t crush the truck or the barriers when they meet, but who simply — I would say– plants flowers behind. She is multiple, has no limits, has this curiosity of the genius to insert, to intervene in all areas, in all matters … and succeeds, and does them very well, in my opinion even better: out of the ordinary. I am so happy for her evolution. It was 11 years ago that we met for the first time. (…) This exhibition is a more special exhibition, since it also has its humor, having been started out of a language problem …… ever since her childhood.

She uses many different materials here, which she either combines or suggests. In the paintings that she does with oil or acrylic on canvas she still suggests combinations of diverse materials. I do not think that one can define her, figurative, surrealist, abstract? I look at her paintings and they could be abstract, but also surrealist or figurative. Because you discover – if you want — in each of the paintings elements that are specific to these categories. I think this is actually a quality. Better yet, not to be integrated under a specific dome. Neither I, in what I do, I don’t think that I could fall under a certain (…) and maybe I an subjective because I see in her the same ambitions, the same desires.

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Through the In-Trigâ: AT HOME EVERYWHERE video-performance (see The Small In-Trigâ Dictionary) I try to redefine my territory and my identity, assuming a status on the border between public and private, in the context of ongoing social political influences over my personal life. The promenade in which car I carry my zăercs is a propagation of the self in constant movement: between aesthetic and social, between the organic and the artificial, between life and death, between nature and culture, between art and everyday life. The First In-trigâ presents through the form of a funeral march the simplest, most common and recurrent activity in my life: the daily walk with my dog, in the fields near the village where I have my studio. Continue reading

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Colony Art Gallery

Colony Art ( presented the exhibition “UN-FINISHED” – artists Maia Oprea ( and Matei Enric ( 

Thoughts, feelings, filtered, husked and conceptualised moods are linked together in the compositions of Maia Oprea and Matei Enric. All this introspective journey is translated into unconventional means, on experimental media. “Un-finished” defines a phase, a transition from the studio of study to the one of stage. Continue reading

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Lining - installation performance - Architecture School of Strasbourg, France

Lining – installation performance – Architecture School of Strasbourg, France


“Lining” is a group work based mainly on one of my old projects, “Bucharest, Roadblock”, a journey in which I used transparent tape, pasting through public and private spaces as well. This time too, the tape is used to make a kind of drawing in space, a drawing that seeks light strokes or which allows light to be traced.  Continue reading


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

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Like a Visitor

A first video from the “WASTE – first stage” exhibition

I should think of getting a tripod, Permiere, a Mac…well I’m working on it (!!)

So sorry the speech is in Romanian, translated in Bulgarian.



Here’s a video from my last solo exhibition, “Cadmium”.Some of the paintings can now be seen on

Many thanks to Alfred Schupler for the video and to Cristi Şugar for the soundtrack !





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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White Rhythm

The video “White Rhythm” is at the same time one of my first art videos, and also the first group performance that I have ever initiated by myself. It was born as a commemorative act in the memory of an artist that I have very much admired, Dennis Oppenheim (born in 1938 in the state of Washington, died 2011), whom I discovered at the Museum of Modern Art in St-Etienne ( ), in the context of the exhibition “Islands never found” showcased in 2011, and soon after at the Abbatoirs of Toulouse ( ) . Continue reading