I work in the field of print-based imagery and drawing, constructing images in which the human figure, urban architecture, and decorative structures enter into an unstable relationship.
My practice emerges from a Romanian visual context in which the city’s architectural memory coexists with forms of contemporary culture and motifs drawn from local tradition.
I am less interested in reconciling these images than in the tension between them. Fragmentation, layering, repetition, and shifts in scale transform architecture, the body, and ornament into mobile elements of the same visual construction. A residential block can become a background, a decorative structure can function as a grid, and the human figure can appear as a body perpetually in motion.
Within this practice, the city is not merely a subject, but a space of memory and transformation. Architecture inherited from the communist period is brought into dialogue with the contemporary urban imaginary, with gestures, bodies, and images associated with a globalized visual culture. The result is a fragmented territory in which identity does not appear as a stable form, but as a succession of approaches, separations, and negotiations.
The image is constructed through accumulation, but also through rupture. What appears separate is connected through recurring motifs, rhythms, surfaces, and structures that reappear from one work to another. In this sense, connection becomes more important than unity: the works do not seek to belong to a single visual language, but to make visible the relationships between different languages.
My practice therefore exists between representation and abstraction, between memory and the present, and between the decorative and the critical. I do not propose a definitive image of contemporary identity, but an open space in which it can continuously take shape, fragment, and reconstruct itself.…I work in the field of print-based imagery and drawing, constructing images in which the human figure, urban architecture, and decorative structures enter into an unstable relationship.
My practice emerges from a Romanian visual context in which the city’s architectural memory coexists with forms of contemporary culture and motifs drawn from local tradition.
I am less interested in reconciling these images than in the tension between them. Fragmentation, layering, repetition, and shifts in scale transform architecture, the body, and ornament into mobile elements of the same visual construction. A residential block can become a background, a decorative structure can function as a grid, and the human figure can appear as a body perpetually in motion.
Within this practice, the city is not merely a subject, but a space of memory and transformation. Architecture inherited from the communist period is brought into dialogue with the contemporary urban imaginary, with gestures, bodies, and images associated with a globalized visual culture. The result is a fragmented territory in which identity does not appear as a stable form, but as a succession of approaches, separations, and negotiations.
The image is constructed through accumulation, but also through rupture. What appears separate is connected through recurring motifs, rhythms, surfaces, and structures that reappear from one work to another. In this sense, connection becomes more important than unity: the works do not seek to belong to a single visual language, but to make visible the relationships between different languages.
My practice therefore exists between representation and abstraction, between memory and the present, and between the decorative and the critical. I do not propose a definitive image of contemporary identity, but an open space in which it can continuously take shape, fragment, and reconstruct itself.WW…