The personal artistic activity reflects an pendulant practice between concrete observation and intellectual game, where the freedom to express ideas through various media such as installation, object or photography does not go against the classical methods of drawing or painting, all this, becoming the material support of recurrent questions.
My approach is oscillating between the view from far, from close, from afar and from inside, focusing on social issues or ars poetica approaches. The poetics / politics of space on the micro- and macro- historical contexts, the persistence of the past traces and its repercussions in the present, and the connections between various levels of reality also represent areas of interest for me.
No mirage?, 2017
Site-specific installation - Window and the natural light, existing ramp; an old map of the neighborhood, on the top of that, and one of the world, along the ramp, transposed in stencils; transparent platform, suspended, containing gel microspheres silicone; size 200 x 600 cm, h 250 cm (part from UNIVERSALLOWED Exhibition, curator Maria Orosan Telea, Batteries Factory Tower, with Avantpost)
A former battery factory with its history and abandoned objects, becomes a universe allowed, partially integrated in the artistic processuality by this work, during the „Universallowed” exhibition of the Avanpost Platform in Timişoara, for which it was created.
The work proposes a game of perception and understanding in relation with the multiple meanings of the word "mirage", the aim being to reflect on the immigration phenomenon, to which the work is visually referenced.
Under the direct influence of the public who can interact with the small spheres (which grow and float in a water film) they are spontaneously reconfigured into new community forms. The atmosphere created by this arrangement is meant to maintain the mirage idea needed for these reconfigurations.
Temporal chain – ante- and post- ”me”, 2017
Site-specific installation, wall built and painted with an ornamental motif made from detailsof the works arranged at its level, old furniture pieces, a picture taken by my grandmother, detail from a personal text installation, a page of my daughter's diary, overall size 260 x 400 cm, h 250 cm, 2017 (UNIVERSALLOWED,Battery Factory Tower, Avantpost Group, curator Maria Orosan Telea)
A placement (extension) of myself in time through three hypostases with the specific characteristics of each: the “given” in relation with the external “turmoil” and decisions made at a certain moment... a perpetual reinvention of self and meaning... Tricking the nothingness or merely existing? Under the apparent and pretentious self-positioning in time through art, I actually present a short history of my family’s creativity, on the genetic lineage.
At the same time, this work is a tribute to my grandmother, whose creative qualities were put to work in various types of weave and needlework, in matching the colours, choosing the yarn threads and organizing motifs all through my childhood. Her generous use of the so-called “attributes of femininity”, although not every woman possesses them just by being a woman, was probably the framework for my own creativity. My teenage daughter’soutstanding creative manifestation through picture diaries, as an extension of myself, continues the red thread of some fundamentally individual artistic manifestations.
The installation proposed for exhibition contains one of the pictures sewn and framed by mygrandmother – they still hang on the walls of the house I grew up in, just like they were during her lifetime - two elements from a personal work entitled Actions, states, passions – each of them containing the transcription of a number of action verbs, where some take place horizontally and others vertically -, as well as the picture diary of my 16-year-old daughter – opened at a page of her choosing and encased. The work that I decided to re-contextualize here represents a remarkable moment in my artistic orientation.
Recent Culture, 2015
Site specific installation, overturned easel, debris, plant culture suggesting together all the meanings of the word culture in the dictionary, (part of the group exhibition Avantpost - Connection with the present, curators Nathalie Hoyos & Rainald Schumacher, Art Encounters Biennale Appearance and Essence, Memorial of the 1898 Revolution, Timişoara)
In spoken language, phonemes give words the opportunity to look for their meanings, sometimes revealing surprising analogies and interpretations. This is the case of the word “culture”, which in Romanian has certain meanings when it is pronounced/written correctly – cultură (crystallization over time of all values of the humankind, care for harmonious physical development, crop production), and totally different ones when wrong spelling is employed intentionally, for instance cult ură (cult – exaggerated admiration for someone or something, and ură – hate, strong feeling of hostility).
The artwork bring in a context that talk about the recent history, the period after the revolution of '89 until now, visual references for the word "culture" (also meaning physical or plant culture), causing the public to observe and meditate on the interactions between them, but also on the "pronunciation / understanding" of the word in relation to this context.
Recontextualizing the work would bring with it a wider perspective on dehumanizing and polarizing constructs of cultural separations through which new borders have been fabricated.
What about you?, 2015
The artwork What about You? was exhibited during the first edition of the Biennial Art Encounters – Appearance and Essence, in Timişoara (2015), being included in the section Art in the Public Space.
The place where it was exhibited – Theresia Bastion, a landmark for the history of Timişoara, after architectural rehabilitation, it stands for valuing the past into the construction of the present. Another reason for choosing this particular place (a passageway) was my specific wish to facilitate/trigger reflexive dialogue with the passers-by. Through the question that it asks the public, it requires the continuation of the proposed discourse.
This artwork is meant to be an existential question. Rather than "signifying" something in a formal way, its aim is to challenge the viewer to perceive the meaning of the question itself. Its ambiguity can have a diverse impact: in front of it, one can stop and wonder about the sense each individual gives to their own existential journey.
For me it’s an ars poetica work, the possibility of establishing a dialogue between art and public being essential for my approach.
It won the prize awarded to this section at the Beta Architecture Biennale in Timişoara in 2016.
Combinator Optimization, 2016
Intervention - text template and protective foil, about 120 x 150 cm, 2016 (part of the Hidden Agenda exhibition of the Avantpost Group, at the White Night Galleries - No Man's Land Exhibition, Residence Stage 9 , Bucharest)
This work has been part of the Avantpost Group Exhibition Hidden Agenda at the White Night of the Galleries - Exhibition No Man's Land, Stage 9 Residence, Bucharest.
Through the Extreme Combinatorial Work I propose a game of combinations of letters, suggested by the coincidences between them, which are found in the composition of the written words (ASEAN, EFTA, NAFTA, SAFTA, TPP, TTIP etc. - names of the world economic change treaties), by the resulting correspondence, symbolically suggests the structural dominance of permutations (with all subsidiary supporting structures) that draw the world's new power (power), establishing sometimes indifferent policies to the real needs and opinions of the population.
Installation by two-piece (re)write exhaust signals disposed one inside the exhibition, one at the way out; approx. dimensions 20 x 30 cm (work exposed in the dark during the Night of the Galleries, Exhibition Nightshiftt, Plan 0, Timişoara).
Starting from the almost identical appearance of two words - Exit and Exist, I set out to make a visual game, a sort of ophthalmic test of difference.
In the darkness offered by the concept of the exhibition, both as a means of expression in cooperation with the new technologies and as a subject of reflection, I propose to use an EXSIT visual / luminescence mark above the entry as a perfectly justified element in conditions of low visibility of a space closed, except that it will have an extra letter... The presentation of this will depend, in the first instance, on the perception of the viewer, and then, by referring to a similar indication elsewhere in the exhibition, discovering of the other signal – COEXIST, to be offered a further evidence of the work.
By the two signals the two EXSIT - COEXIST expressions, with the spatial distance between them, I wanted to provoke the creation of the connections and the sensations in this space, according to each viewer.
Coexistence is a choice in an immediate context, but from a larger perspective it’s a fact that must automatically involve responsibility for the others. The too, coexistence and existence, are connected.
(To consolidate, “to strengthen, to make more durable”, where con- is a prefix meaning “together”, contributing to noun formation; solidary – 1. Connected to someone or something with a shared responsibility and interest; 2. Connected, in a construction, to another piece or object.)
By means of the gesture multiplying a spatial construction, by now emblematic for a series of artworks in my portfolio, I wish to make a reference to the notion of abutment, in a symbolic gesture of solidarity/appreciation/support of the efforts made to carry out the project of this museum.
In a symbolic key, the spatially structured module I start from stands for the need to reach a state of balance, to shape up a positive environment, to set, at an individual level, a number of coordinates in the relationship with the outer world.
Solo show What about You?, House of Arts/Pygmalion Gallery, Timişoara, 2011
Text accompanying the exhibition
Commuting in a dialogue between the visible and the invisible world, as well as between different discourses (painting, photography, installations), all I do is give free vent to the need to muse upon things, phenomena, and events, which draw closer and challenge my imagination. A plain metal structure can be as evocative as the structure of the human DNA, due to their visual impact and their potential to make my thoughts audible.
We are used to being told stories – a habit that moved from the media to visual arts, when the latter were inquisitive and equaled a debate camp, obsolete as it was, room for successful recipes (certainties).
I believe in those images which need very little help to come to surface. I believe that too much matter, colour, shape and message can only shift our focus towards purely artificial, fabricated appearances, which are rewarding only for immediate consumption, which give you only temporary satisfaction, but which can become toxic, if taken in large quantities for a longer period of time.
Joseph Beuys used to talk about the naturalness and simplicity that works of art should possess. He believed it was up to the artist when a certain object was ready to become work of art, provided the artist could see what messages were conveyed by the wood or the stone (the artist’s materials). These materials have their own, independent personality, which tends to emerge, to become perceptible. Taking the example of an animal’s skull, Joseph Beuys argued that, although it wasn’t a human artifact, this piece was still a work of art – of visual art, since it was the result of a long organic process, which sculpted the bone in time, following each stage of the organic formation of fluidity.
Metal Structures, photo unit, photographs of variable sizes, 2010
By means of photographs taken of metal structures used as reinforcements against floods or land gliding, I chose (a decision made on the spur of the moment, while contemplating them) to discuss the fragile border between the free, direct perception of reality and the restrictive perception, imposed by external factors.
The panoramic exposure seemed to remind me of the beauty of simple geometrical forms (a Platonic perception), since these structures secretly blended with nature and with the morphology of the area. The close-up (rendered even more powerful by the juxtaposition of several such images), with the cobweb of lines overlapping in countless layers, opening endless labyrinths, reminded me of a Kafka-like, absurdist space.
Vestiges, photo unit, photographs of variable sizes, 2010
Tell me what ruins one civilization leaves behind, to tell you how great this nation was. Such vestiges can hardly be subdued to the pressure of time. We can all feel the traces that the more or less remote history has left in us, which affect us as individuals or communities, whether we are aware of it or not.
The photographs in this unit catch some of the visible aspects of such traces. At the outskirts of Timişoara, these vestiges of our society invade our space – just like “the dead” at the wake, whose presence fills the room and keeps the living captive (a motif in a play by Eugene Ionesco) – oppressing the city line and the landscape of the solitary plain with their heavy, accidental presence.
WHAT ABOUT YOU? (concept and mock-up), 2011
Text installation, on cardboard, letter size approx. 59/50 cm, unit size varying according to exhibiting space.
All that artists produce addresses the public. The absence of the public causes the work of art to vanish.
Despite our effort to convey an explicit message, we end up with the subjective interpretation of each viewer. Consequently, I believe the artist should avoid this,
since it also means that offence is given to the individual’s eternal freedom of thought.
That is why I think that all a work of art can do is to stir our curiosity, to question us, and to impress us with everything that its mere presence implies.