I dedicated my first years of education to the study of Byzantine iconography, searching to understand and to experience the depth of this spiritual paradigm. I studied different styles of representation, succeeding to refine a personal one that emerged from combining an orthodox content with some modern aesthetics elements (the simplicity of suprematism, the bi-dimensionality of a geometrical abstractionism, to which it was added a soft and lighter coloring of Impressionist inspiration). At that time, my artistic creed, my art ideal would merge with my paradisiacal vision of the spiritual life: a pink colored tale for children, a pure world.
In a next stage, I was captivated by the vision of the artist Sorin Dumitrescu (Bucharest) who showed a new and authentic style that blends the old Christian sacred art with some of the primitive art elements. I was discovering a fondness for large forms that were much in contrast with the thin contours that I was making. His style was devoted to vibrate and pictorial shadows, with little spatial effect as opposed to the matte surfaces from my decorative, bidimensional approach. He was eluding all bright color, preferring a chromatic scarcity and dark shades. The conceptual fundaments of his art embodied deeper dogmatic features, which have enriched my then vision that seemed more infantile and sentimental.
After that, I switched my pursuits within the secular art, trying to explore its introspective function, making it an instrument of exploring the human inner self. I concentrated on examining the inner darkness, analyzing the images that result spontaneously out of the nothingness of the subconscious, making a collection of pieces of puzzle of an abyss’ portrait. I got to practice a realistic symbolism transposed in an abstractionist framework. The adopted theme followed a world of the unknown in which meditative characters appear in a firmament of shadiness, wondering hands or objects without history. The air seemed to be dissolving in wires that circulate without gravitation as it is a space of states in which the spirit becomes matter and the matter turns into spirit.
Since then, my art has become a visual metaphor for existential questions, a meditation on the meanings of life, place and purpose of the human being on earth. A representation of the human’s anxieties, but also an illustration of his beauty as a human being exposed to solitude, to the suffering that he must bear, but also of his spiritual greatness that makes him overcome all pressure left by the difficulties he encounters during his life.