Path over Water | 2009-2010

New Impressions | 2002-2005

Raising | 2001

Impressions | 1999-2001

At Heaven's Gate | 1997-1998

Air'96 | 1996-1997

The Wine | 1996

The Scale | 1995

Closed Garden | 1994


In the Name of the River | 2013 - 2015

August Dream | 2011 - 2012

Drawings | 2010

Traces on Water | 2006-2009


French Riviera | 2009


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    My “revolution” happens through the escape in nature and the research of those sensations, which replenish my spirit with light, or the shining of the sun shines on the water surface. Water is the very essence of nature. Water is also to be found in my latest thematic series, it remains a main element in this search: “pathway on water”. Mystery, secret, calm, light, green, and blue: these are fragments from the universe of nature, where man can sometimes be seen, lonely and ephemeral, the eternal passenger on water. This superposition of the “Sky” over “Water” gives me the natural equilibrium yearned for so long and the silence where life is triumphant. Everything sums up to faith, to its power of restoring the ageless human values.

Cluj, 2010

    Starting from the academic works, followed by the expressionist ones due to the colour and shape composition, I have turned in time, step by step, “towards” a kind of impressionism, a type of post-modern – tributary to the impressionism and neo-impressionism. The ideas which are at the basis of the works, also presented in my doctoral dissertation, are intended to be a retrospective of this past period, a path of over ten years and a concept on the landscape, some themes and ideas which emanate from nature. Nature is alive and it is in continuous movement, it is nature as flowing water.


    The root or the beginning of this “clue” lies under the sign of the cycle later called “The Garden of Eden”, where I have imagined and built a closed pictorial space, under the shape of a building which surrounds you from all sides. The idea and the practical way of  building this installation comes from the house itself and the Romanian courtyard, which were the expression of the same synthesis spirit between practicality and the openness towards the dream and imagination horizon, the secret horizon of the existence. The idea where I started from, based on the chosen theme, led me to finding this structure where the three-dimensional generated by the room perspective combines easily with the bi-dimensional created by the large spots of colour placed evenly, by the decorativeness of the model and the tracks duct created in black on the side of the work.


    This starting point was followed by the cycles “The Scale” and “The Wine” where the line was, this time, the one that marked my works. The chosen subjects are inspired from the painting of the Transylvanian glass icons, which were also a theme of my degree essay for the Academy of Visual Arts of Cluj, in 1994. Large abstract compositions, where line and colour are the key elements, become a distinctive sign. Those tendrils which, in my vision, are everywhere in the universe, represent a sign which is alive and humming with life.


    Returning to the Romanian atmosphere of the 90’s, stuck in “traditions” and especially with a certain mentality of the beholder and of the art consumer I felt the need to approach almost in jest the Romanian social life, resulting in the exhibits “air 97”, “At Heaven’s Gate”. With neo-expressionist means I have approached subjects which seemed suggestive through their resonance in the minds of Romanians: “Cabbage à la Cluj”, “High up at the mountain spring” (At Heaven’s Gate Gallery) being examples of a significantly abstractive landscape (a landscape deeply rooted in my mind as a result of my trips in the “homeland scenery”), which also remain as a background element for other compositions.  “Nut grove Lesul Ursului” and “On the lake at Lesul Ursului” (Impressions’s Gallery), from my exhibition at the Sindan Cultural Centre in Cluj, represent the point where the water surface and the detail of the observation upon it are firstly reflected in my works.


    But the painting which makes a distinctive passage towards the elaboration of this vision is “Morning on the lake” (Impressions Gallery), a work displayed in 2001 at the National Art Museum in Cluj, during the exhibition called “Impression, Sunrise”. The work is a detail of a lake upon which are reflected the vegetation of the shore and the morning sun. The composition is open and it comprises much better an older view. The space considered as a whole, yet fragmented at the same time, the compositional open space towards the exterior of the canvas form a concept vision which has always accompanied me in my creation. The artist is constrained to “close” the painting because of the two-dimensional character of the canvas and the frame “closure”. Hence results the idea of leaving the painted surface compositionally “open”, like a game of puzzle. Even though the title of the exhibition reminds of the impressionism, these works and the ones to follow have only one incidence with the impressionist movement and they create a world which archaeologies the impressionism, it is a personal and post-modern universe.

    For the work “On the river” (imag.3), I have synthesised even more, trying to catch the water flow with the same means. Even if the work in the open air is beginning to be a rare thing for me, because of my personal technique which requires time to be elaborated in the studio, the impression and feeling experienced in front of nature continue to vibrate also in the studio. I have used on this canvas, for the first time, the mixture of the oil with acrylic colours, to get a more powerful effect of this motif. What closer image to reality can water image take if not its very shape, which is here the acryl colour, water diluted and spread directly on an oil colour, which constraints it on the spot in that unique drop. The works in mixed technique, acryl and oil, were their basis, while they became mere drops of colour threw on the canvas for the latest impressions, drops of water or oil, a clean and simple image in essence, meant to express water. I reach an intended abstraction by these colour drops, where I have “dissolved” contours, trying to render the essence of the landscape, of a personal state of mind.


    This approach of the pictorial has led to a complete series of works between 2001-2004, having as subject water, the reflexes and the solar light mirrored onto it. the work “Mediterranean impression” (pic. 5), painted in 2001 when I returned to Cluj after a stay in Crete, reflects this very concept and it represents the first work of this new series.

A short break in this direction of small spots of colours spread of the surface of the canvas was the fascination I had on the beach, when I strongly felt an ascending energy from the earth towards the sky. The vision is materialized on the canvas due to a small bush of oleander, which has “showed” me the way of its plastic representation, with its winding and upwards undulation. Whether on large surfaces, where the colour is the complementary element of the ascending strips, it sustains the composition and it gives the name of the works (“Red”, “Blue” [pic. 6, 7]), it makes you think of natural states and times (“Air”, “Sea”, “November” [pic. 8], “October”), or on small surfaces where the line plays an important role, “The Raisings”, the name of this cycle, remain in fact some representations of energetic natural states. These states also transpose on some figurative motifs such as “The last supper” or “St. Simeon the Stylite” (pic. 9), the latter being the last canvas of this series, where the point or touch of pure colour return to sustain the composition. We find everywhere in nature, in all its elements, the idea of rising, of the uprising energy towards the sky. Its basis idea in my personal creation makes one think about the molecular structure of the DNA, of the alternant repetition hill-valley, which is to be found on a vertical level in the popular columns of the peasants’ houses, in the Infinity Column of Brancusi. In all these images, the final part on its margin ends in a middle segment, never closed, a continuity element, of permanent openness, a transcendence to the divine and infinity at the same time.


    The aquatic theme returns uncompromisingly, it is also found in the next exhibition from the P&B Gallery in Cluj (2005) and it represents the inherent demarche, from the lake fragment to investigating the delta as a universe. The abstraction of the reed becomes a motif in itself, becoming predominant by repetition, in almost all of the works which represent water. But the major innovation of this exhibition is the technique of painting on tracing paper. This exhibition remains a starting point for the case study of the delta, an investigation on water level of the shapes and lines, of the vegetation reflected on it. Landscape details of the lakes from Ciurila, Taga, Tarnita, reflections of the reeds and trees on the water surface lead to a vegetal universe where the parts are equivalent. Perhaps the need for equivalence is here as it appeared from childhood, due to the influence of my soul structure.


    These works and the nature observation in the delta are heading for the new stage from 2006-2007, entitled “Traces on water”. It is a grandiose show to see the fusion of the aquatic universe with the vegetal and aerial one and their completion through the richness of the light reflected in many ways. I have watched closely this mirage and the result was the painting which gave the title of the exhibition. I have prepared the tracing paper with flax oil, so that the acryl flues onto it. I have reversed it for the viewer when it was displayed in frame, in order to confer it the depth additionally obtained with the help of the paper transparency, as well as to preserve the neatness, similar to the glossiness of water. “Traces on Water” (pic. 17) is calligraphy in two colours, where black and white only mark “the traces”. The exhibition from the Old Gallery in Cluj (2007), “Traces on Water”, is the most recent stage of my personal creation and it is directly inspired from the Danube delta universe, from its micro cosmos, “another side of things”. This comprises a series of works which have the simple image of the reed as starting point, on its linear direction. The reed is explicated by drawing, an abstract design minimized only through a few forceful lines. The line is perceived, in this sense, as a background expression of life, of the simple yet everlasting energy, of perpetual movements of life essence. The delta makes this universe to be so complex and unique, it is perceived as a twinning of the three primary elements of this world: earth, water and sky (the air – in essence the light). The special light and the rich vegetation create a strong impression and make me feel the urge of representing plastically the delta. A lot of works are created on tracing paper, the technique of tint drawing, of successive super positions of transparent colours; it is an experience practiced in order to better display these reflections, undulations of water and reeds. The tracing paper crinkles at the contact with the water contained by the colour, so that when the layers dry out it creates a slightly three-dimensional effect.