A look into my live

I was born in 1974 in Bacău. I’m graduated from the Academy of Fine Arts in Bucharest in 1998 and with PhD in Visual Arts. My main focus during studies was sculpture. I was Teaching Assistant in the Department of Sculpture at the same Academy between

2004 and 2006. Starting with 2000, I works as visual counselor in the field of cosmetic surgery. I live and work in Bucharest and Dubai (UAE). In 2005 in Athens, Greece, I was awarded the UNESCO Gold Medal.


Intuitive searches, expansive spaces and volumes, frozen structures in the supplest instance of their ever more prodigious projections, in a fluctuating apparent fragility. This 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 teritory of strict and inpersonal definitions.

The visual layout which forms this exhibition underlines and endows with life an effort of will and training by successive shapings, both at 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 shapings, relating to an utmost personal aesthetic communication system.

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 from the 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 which is based on the visual object itself, relieving an aesthetic field full of interior symbolism, marked by personal semiotics.

The route followed in developing this aesthetic-existential adventure becomes more complex impregnating them with a number of 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, achieved through an approach that I call neurophysiologic sculpture or neuro physiologic shaping. This name includes a particularity due to the interpretation of the words that compile this paronomasia. In my language (Romanian), the word NEURA 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 placed opposite to the unstable meaning of this step, which is permitted by violence and hatred. Once this aspect of NEURO SHAPING is projected in the area of “happening” and of the visual installation, it gains a polarizing role in generating the 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. This vast field of expression prepossesses in this case recovery dissolutions, through which offensive, structurally unstable elements are projected in 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, and thus, 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 artctual 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 in the meta artistic approach, which belongs to the most avant-garde aspect. I would say that the object of communication that make up this metal visual and neurophysiologic work of shaping exudes and subtly and eloquently develops into an expression, which is neo contemporary to its own aesthetic and meta artistic system.