A look into my life

I was born in 1974, in Bacău, Romania. I graduated from the Academy of Fine Arts in Bucharest in 1998 with a PhD in Visual Arts. My main focus during my studies was sculpture. I was a Teaching Assistant in the Department of Sculpture at the same

Academy between 2004 and 2006. Since 2000, I have worked as a visual counselor in the field of cosmetic surgery. I live and work in both Bucharest and Dubai (UAE). In 2005, I was awarded the UNESCO Gold Medal in Athens, Greece.


Intuitive searches, expansive spaces and volumes, frozen structures in the supplest instance of their ever more prodigious projections, in a fluctuating apparent fragility,” can be one of my definitions of a neo-contemporary, meta-visual work of art, anticipating a new type of expression and perception in fine arts. We shall not remain in the sterile and inhibiting territory of strict and impersonal definitions.

The visual layout which forms this exhibition underlines and breathes life into an effort of will and training by successive shaping, both at the evolutionary and physical level, in the field of abstract speculation. Thus, the objects that make up this tangible and intuitive work in the thin air of a transcending type of projection become the actual projections, eloquent samples of these evolutionary stages of shaping, relating to an utmost personal aesthetic communication system.

A free shaper shows the relationship between the physical factor and object, model.

On the other hand, the objects that make up this meta-visual image can be contemplatively structured in a type of programmed and controlled escape fromthe actual plan of graphic expression into that of abstract speculation, thus gaining substance and a type of hyper individuality, generated by this speculative exile which, in the end, is redeeming. Therefore, the entire event becomes more than just an exhibition based on the visual object itself, relievingan aesthetic field full of interior symbolism, marked by personal semiotics.

The path followed in developing this aesthetic-existential adventure becomes more complex, infusing elements of perception, introspection, contrast, and awareness. Remaining in the speculative area, I will refer to a certain kind of individual shaping, which has a generating role in the aesthetic plane, achievedthrough an approach that I call neurophysiologic sculpture or neurophysiologic shaping. This name includes a particularity due to the interpretation of the words that compile this paronomasia. In my native tongue, Romanian, the wordNEURA means NO ANGER. So here we are dealing with a NO ANGER PHYSIOLOGY that is displayed in the field of plastic expression of a constructive nature.

Neurophysiologic sculpture & neuro physiologic shaping.

This display of NEURA with only constructive evolutionary valences is set up opposite to the unstable meaning of this step, which is permitted by violence and hatred. Once this aspect of NEUROSHAPING is projected in the area of “happening” and of the visual installation, it gains a polarizing role in generatingthe two aspects of plastic expression. In other words, the gesture’s offensive de-constructive force, by projection in the NEURA expression field, turns into the power of constructive aesthetic gesture.

From this perspective, we can say that the plastic expression acts as a real vector of subtle shaping at a Neurophysiologic Sculpture level in the abstract speculative field, and in the area of constructive confrontations at a physical, organic level. In this case, this vast field of expression prepossesses recovery dissolutions, through which offensive, structurally unstable elements are projected into the matrix of an exquisite and personalized aesthetic of a constructive nature.

Both volumes (body and object) actively work together to recover and retrieve a point of stability; therefore, through a surprising state, the impersonal object becomes the body’s shaper, which induces the latter’s movement. During this interaction of shaping through induction, the sculptural object does not only remain an always active SHAPER of the body’s gesture (the organic form), but acquires the role of the generator of a speculative aesthetic, kinetics of a meta-actual complexity, adhering to the utmost abstract vein of plastic perception.

The narrative aspect of the object drawings is a different kind of challenge that visual perception scores in the context of the entire concept. Thus, the whole conceptual structure of the work shown here is placed under the meta-artistic approach, which belongs to the most avant-garde aspect. I would say that the object of communication that makes up this meta-visual and neurophysiologic work of shaping exudes, and subtly and eloquently develops into, an expression that is neo contemporary to its own aesthetic and meta-artistic system.