MATEI GAPAR M AT R I C E

ATITUDINI - TESIUNI

MATEI GAPAR M AT R I C E
ATITUDINI - TESIUNI

Prof. univ. dr. David Carol Personalitatea artistic consecvent a lui Matei Gapar, cercetarea i creaia sa artistic se desfoar n mod evident pe un drum ascendent, prezentnd valene calitative, solid edificate prin opere armonios structurate i precis executate nimic la voia ntmplrii lucrri n care mesajul i forma constituie un tot expresiv, clar i nchegat, din care nu mai poi s scoi sau s adaugi nimic. Aceast stpnire a materialului i al formei genereaz att din tradiia arhetipal a zonei natale i cultura prelucrrii materialelor vernaculare, ct mai ales din formaia academic de ceramist, beneficiar al colii din Cluj a reputatului artist, profesor i om de cultur, Cornel Ailinci. Lucrrile lui Matei Gapar se prezint ca structuri tridimensionale, uneori ca picto-obiecte n care domin spaialitatea, iar o ncadrare stilistic ne evoc valene ale Constructivismului liric. Sinergia siluetei structurii portante, arhitectura elementelor spaiale, a diferitelor materiale ce induc texturi i culori, creeaz toate la un loc un efect spaio-structural i cromatic, constituind un mesaj semantic, ce parc traduce elemente din odiseea spaial n limbajul unui popor arhaic. Unele lucrri se prezint ca nite arhitecturi cosmice, ancorate n forme geometrice arhetipale, realiznd o tridimensionalitate, pus n valoare de variaia unghiurilor de inciden a luminii. Tensiunile ce se creeaz n spaiul dialogului dintre elementele structurale, materiale i cromatice, constituie sursa matricei semantice finale a lucrrilor. Dar lucrrile lui Matei Gapar prezint i certe valori ambientale. Dincolo de expresia dinamicii structurale i a mesajului semantic, aceste lucrri funcioneaz i n registrul esteticii obiectuale, a obiectului frumos, ce invita att la privit, ct i la o experien tactil. Privind lucrrile artistului, vedem n primul rnd efectul i expresia construciei, care este evident de sorginte geometric, originnd din matricea folclorului planetar, a formelor primare ca cercul, ptratul, triunghiul. n continuare, se desfoar aproape simultan dou categorii de efecte i dialogul dintre ele: efectul armoniilor cromatice i cel al materialelor i texturilor folosite. mplinind i asociate cu aceste valene, avem n unele lucrri imagini bidimensionale iluzionist-realiste, deschideri de spaii, imagini ale cerului, a ierbii, a norilor i uneori, suprafee picturale non-figurative,

Phd. Professor David Carol Matei Gaspars artistic personality, his research and achievements in the arts field are to be found on an ascendant path, proving him qualitative aptitudes, thoroughly determined in his pieces of work, accurately fulfilled- nothing at random- productions in which the meaning and the shape represent an expressive entirety, lucid and well-defined, out of which one cannot remove, nor insert anything. This mastering of the matter and shape originates in both the archetypal tradition of his native area, in the culture of processing vernacular materials, and especially in his academic training, benefiting from the Cluj School of the reputed artist and man of culture, Cornel Ailincai. Matei Gaspars pieces of work present themselves as threedimensional structures, sometimes as paintings- objects dominated by a profound sense of space; a stylistic approach may recall features of the lyrical Constructivism. The outline synergy of the bearing structure, the spatial elements architecture and of various materials inducing textures and colors, altogether create a chromatic and space-structuring effect that coagulates a semantic message, seeming to translate elements of the spatial odyssey in the language of an archaic people. Some of the works come up as cosmic architectures, meaningfully tied up in archetypal geometrical shapes, leading to a three-dimensional view emphasized by the variation in the light incidence angles. The tensions created within the dialogue involving structures, materials and colors establish the final semantic matrix for the works. Matei Gaspars works also bear a definite ambient value. In addition to the structure dynamics and the semantic message, these pieces of work develop a meaning as well within the object aesthetics, the exquisite object that urges to both a visual and a tactile approach. When looking at the artists works, the construction effect and expression strike at first, construction of an obvious geometrical source originating in the world folklore matrix of the essential shapes such as the circle, the square and the triangle. A prolonged view would discover, almost simultaneously, two categories of effects and their relationship: the chromatic balance

care nu ntotdeauna rezult din structura i textura materialelor, dar le completeaz i le leag, deschiznd spaiul perspectivei aeriene pe suporturile de sorginte teluric. n aceste cazuri, dialogul i confluena registrului spaial-iluzionist i cel spaialstructural realizeaz sinergic efectul artistic i constituie valoarea de necontestat a lucrrilor. Aceast confluen a registrelor spaiale, destul de rar ntlnit n general, se face din ce n ce mai prezent n lucrrile recente, de dimensiuni monumentale, ale artistului. n aceste lucrri se intervine pe alocuri cu efectul unor imagini secveniale sub form de film, proiectat pe scheletul structural, realiznd ample confluene a trei tipuri de form i imagine: structura spaial material, imaginea bidimensional cromatic figurativ sau abstract i n cele din urm, imaginea cinematografic imaterial i mobil. Discutnd lucrrile lui Matei Gapar din punctul de vedere al obiectului artistic, al realizrii tehnice, constatm pasiunea de a modela, cizela sau textura, remarcm precizia execuiei, grija pentru detaliu i acel cult pentru obiectul bine fcut, att de specific bnenilor. n opinia noastr, calitatea i valoarea specific a lucrrilor lui Matei Gapar, o constituie fericita mpletire a registrului teluric al forelor pmnteti, cu registrul cosmic realizat prin tensiuni spaiale, imagini i culori.

effect and that of materials and textures. In some pieces of work, completing these artistic features and connected to them, there are some two-dimension, paradoxically illusive-realistic, images, space openings, images of the sky, the grass, the clouds and, sometimes, non-representational painting surfaces; these are not always a consequence of the materials structure and textures, but they complete their meaning, connect them and open up the aerial perspective on the earthly fulcrum. In this view, the dialogue and the confluence of spatial perspectives, the illusive and structural ones, create, in synergy, the artistic effect and represent the works undisputable value. This confluence of the spatial perspectives, rarely to be found in general, is particularly frequent in the artists most recent monumental works.These are fulfilled by the action of some stills in a film sequence, shown on the structure outline and, thus achieving ample confluences of three types of form and image: the material spatial structure, the chromatic representational or abstract image and, finally, the cinematic immaterial and mobile image. Referring to Matei Gaspars works, from the point of view of the artistic object and the technical achievement, we can notice the passion for modeling, polishing and emphasizing the texture, we can remark the precision, the detail-oriented attention, the creed in the thoroughly made object, so specific of the people in Banat. In our opinion, the quality and the particular value of Matei Gaspars works are achieved by the fortunate mixture of the earthly register of the land forces with the cosmic one, by means of spatial strains, images and colors.

Materie i spirit
Constantin Prut

Matter and spirit

Constantin Prut

De ndat ce artistul ptrunde n misterele lumii materiale el se apropie cu acelai interes de configurrile n metal, piatr, lemn, pmnt, rini sintetice etc. Matei Gapar identific o serie de elemente ordonatoare, de amprente ale principiilor raionale. Sunt semne ale tensiunilor formative, care iau de regul aspectul unor expresii geometrice, marcnd n mod frapant desprirea de haos, de imprevizibilul incongruenei ce domnea nainte de aciunea forelor sacrului. Aceast vocaie a nceputului, aceast evocare a iniialului efort de luare n stpnire a lumii, este, dup cum vedem, un necesar exerciiu iniiatic n care s-au aventurat muli reprezentani ai artei moderne, fascinai de misterul primei diminei a lumii, de promisiunea eternei rentoarceri la care se refer Mircea Eliade. S-a trecut, n perioada de nceput a artei moderne, de la negarea pasionat a formele ngheate ale academismului, la o tot mai categoric respingere a conveniilor, a clieelor, a achiziiilor de limbaj, a patrimoniului, pentru a se identifica inocena originar, sensibilitatea uman nefalsificat de gesturi acumulate de-a lungul timpului. n spaiul originar, n evocrile dimensiunilor materiale ale lumii, spre care ne invit Matei Gapar, ntlnim gesturi ale unor discursuri abstracte, ale unor tendine de evitare a concretului, a acumulrilor incidentale ale actualitii ce mpiedic contactul cu esena lucurilor. Aa s-a ajuns, de pild, la suprematismul lui Malevici, la plasarea demersului artistic n cuprinsul sensibilitii pure, a ptratului alb pe fond negru, refcndu-se traseul iniial al naterii limbajului. Spre aceeai prim diminea a lumii ne cheam negaia dadaist, propunerile artei informale, discursurile picturii lettriste, toate acele manifestri ce urmresc, dincolo de conveniile gndirii figurative, naterea i evoluia semnului, instalarea lent n haosul material a unor alfabete, a unor repertorii personale prin care realitatea s fie perceput i stpnit. Valorile geometrice, att de prezente printre modalitile la care recurge artistul, sunt vizibile, nainte de toate, n felul n care i delimiteaz cmpurile compoziionale. Un clar principiu 9

As soon as the artist masters the mysteries of matter- he attempts, with the same interest, metal, stone, wood, clay, synthetic resins compositions- Matei Gaspar identifies a series of ordering elements, impressions of rational principles. These are representations of the formative tensions, usually adopting the aspect of geometrical expressions and marking strikingly the demarcation from chaos, from the unpredictable status of the incongruity having ruled before the sacred forces action. This vocation of the beginning, this evocation of the initial effort to master the world is, as we can notice, a necessary initiating exercise undertaken by many representatives of the modern art, fascinated by the mystery of the worlds first dawn, by the promise of the eternal return, Mircea Eliade was referring at. When modern art began to manifest itself, its representatives switched from passionately denying the rigid academism to a growing definite rejection of conventions, clichs, linguistic acquisitions, the cultural heritage in order to identify the original innocence, the human sensitivity unaltered by cultural and social acquirements. In the innate space, in his recalling the material dimensions of the world to which Matei Gaspar invites us, we encounter manifestations of some abstract discourses, of some tendencies to avoid the tangible, of the fortuitous cumulative present that prevents contact with the essence of things. This is the path, for instance, to Malevicis suprematism, to placing the artistic credo in the very core of pure sensitivity, of the white square on a black background; thus, the initial path of the language birth is being recovered. To the same the worlds first dawn, the Dadaist denial, the informal art proposals, the letterist painting discourses orientate our perception on art; all these artistic beliefs aim, besides the representational way of thinking, the birth and evolution of the sign, the gradual penetration of some alphabets into the material chaos, of some personal repertoires by means of which reality is perceived and mastered.

ordonator triumf n organizarea materialului care reclam n permanen prezena unor vectori geometrici patrat, triunghi, cerc. Aceast invazie a reperelor geometrice se insinueaz n aparatul ornamental, n economia repertoriului de semne ce desemneaz cristalizrile materiale, dar poate fi nregistrat i n forma reliefurilor, a configuraiilor spaiale ce se ivesc n creaiile sculptorului. n cuprinsul teritoriilor supuse rigorilor geometrice, Matei Gapar pstreaz, de regul, ceva din prospeimea primei ntlniri cu lucrurile, din impetuoasa afirmare a focului, din surprizele unei materii n micare. Aceast continu erupie material, consumat cu o nedisimulat bucurie, este la acelai nivel temporal, controlat de discursul figurilor geometrice spre care este atras artistul. De fiecare dat, peste tensiunile materialului se suprapune caligrafia acestor semne ale interveniei sale contiente n dinamica limbajului. Uneori, i lucrul acesta se ntmpl tot mai des n ultima vreme, structurile abstracte ale materialului reliefuri i expresii triudimensionale primesc o sarcin figurativ, exprimat n convenii picturale. n materia, impetuoas i intens prezent, se deschid astfel ferestre, exerciii figurative, care anexeaz ansamblului material evidente repere spirituale. Suprastructura spiritual nu anuleaz consistena materialului, ci, dimpotriv, i subliniaz concreteea i prestigiul. Inseriile unor accente ale efortului de reprezentare, ale unor expresii picturale, deschid o perspectiv extrem de generoas asupra evoluiei artistice a lui Matei Gapar. Este o evoluie care adun, n mod firesc, elemente ale discursului volumetric i elemente ale discursului pictural, ntr-o ntlnire fertil, care mprumut de la univers durabilitate i o nesfrit surpriz formal i simbolic.

The geometrical values, so often recognizable among the methods the artist resorts, are visible, first of all, by their delimitating the compositional fields. An obviously clear ordering principle prevails in the artistic material organization, since it requires constantly the presence of some geometrical vectors- the square, the triangle, the circle. This abundance of geometrical landmarks insinuates itself in the ornamental layout, in the inventory of signs designating the material achievements, but it can be noticed as well in the relievos, the spatial configurations that come to life in the sculptures sculptors work. Even within the fields mastered by geometrical strictness, Matei Gaspar preserves some of the invigorating innocence with the first encounter with things, of the impetuous burning of fire, of the unexpected of a mobile matter. This incessant material outburst, felt and displayed with unconcealed joy, is balanced, within the same time frame, by the geometrical figures discourse so appealing for the artist. Constantly, the calligraphy of signs of his conscious interference with the artistic language dynamics superposes over the matter strain. Sometimes, and even more often lately, the matter abstract structures- relievos and three-dimensional expressions- are endowed with a representational meaning, identifiable in the painting conventions. New approaches are available in the matter, tumultuous and intense, representational exercises cumulating obvious spiritual dimensions to the material entirety.The spiritual superstructure does not conceal the matter consistency; on the contrary, it emphasizes its tangibility and prestige. The insertions of some accents of the representational ordeal, of some painting expressions, reveal an extremely generous perspective on Matei Gaspars artistic evolution. It is an evolution gathering naturally elements of the volumetric discourse and elements from the painting discourse in a prolific get-together that borrows steadiness, lasting attributes from the universe and a ceaseless revelation in form and symbols.

10

SCULPTURA AZI. 4 DISCURSURI. A TREIA EDIIE

Emil Moldovan

SCULTURE TODAY. 4 DISCOURSES. THE THIRD EDITION

Emil Moldovan

L-a numi pe Matei Gapar unul dintre artitii cei mai activi din ultimii ani. Mai ales n Timioara unde a expus cu insiten. Avalana prezenei sale se face simit i prin participarea acesta de la Arad, dnd astfel curs, pe de o parte unui proiect individual care include cteva expoziii personale, dar integrndu-se, pe de alt parte i unor colaborri mai ample, lrgite, alturi de colegii de generaie, sau chiar mai tineri, aa cum este i manifestarea de fa. De altfel, ceea ce propune el n aceti ultimi ani ncepe s se deslueasc cu o tot mai precis claritate n iureul de voci, care de care mai stridente. O explicaie ar fi aceea c, naintea acestei desfurri de fore, Matei Gapar a petrecut o ndelung perioad de timp n care i-a elaborat piesele, a meditat ndelung asupra lor i a reuit s ajung la o formul plastic care s l caracterizeze cel mai bine i cu care astzi i este uor s (se) comunice. Sunt de prere c, n ciuda a ceea ce expune i de aceast dat, formaia sa de ceramist i face n permanen simit prezena. Ceramica, i sticla ntr-o oarecare msur, poate mai mult dect alte domenii care se studiaz n instituiile de nvmnt superior romneti de profil, a permis absolvenilor, din motive inutil de explicat aici, reorientri vocaionale nu ntotdeauna de dorit. ntrun sens pozitiv, acest aspect confirm caracterul oarecum liminal al ceramicii i, implicit, generozitatea ei semantic. Resimt acest lucru i la Matei Gapar care face pictur i sculptur aa cum ar face ceramic. Figurile geometrice pe care le convoac i care l delimiteaz n cadrul discursurilor celorlali- a celor de fa i a celor din generaia sa- ca un element particular sunt soluii aproape prea raionale de punere n ordine a ceva inform, haotic. Aceast nzuin este mai mult ca oricui specific ceramistului i care poate fi raportat, iat, i la forme alternative de expresie. Alternative, vreau s zic, celei a ceramistului, aa cum

I would refer to Matei Gaspar as to one of the most active artists of the latest years, especially in Timisoara where he has exhibited persistently. His pertinacious presence is underlined by the present participation in Arad, thus carrying on an individual project that includes several personal exhibitions and, on the other hand, integrating into more extensive collaborations besides the artists of his generation, or even younger ones, as the present exhibit suggests. Actually, what he has proposed for the latest years starts to decipher itself more and more precisely among the choir of voices, one more piercing than another. One explanation would be that, before this tenacious exhibiting, Matei Gaspar spent a long period elaborating his pieces of work, meditating insistently upon them; Thus, he succeeded in achieving an artistic pattern that best characterizes him and by means of which he communicates himself with the highest accuracy. I hold the opinion that, despite of what he is exhibiting here, his ceramist formal training reveals itself. Ceramics, an at a certain degree glass, perhaps more than other artistic fields that are taught in the Romanian art faculties, out of reasons useless to be explained here, allow the graduates vocational reconverting possibilities, not always desirable. In a positive meaning, this aspect confirms the rather bounds setting character of ceramics and its semantic generosity, implicitly. I can notice this in Matei Gaspars work, the artist who paints and sculpts with the same involved approach as if he would mould the clay. The geometrical figures he calls together and that depicts the specificity of his discourse among the others- the present ones and his generation fellows- as a particular element, those

13

consider lucrrile acestui ceramist convertit care este Matei Gapar. Geometria este oricum o punere n ordine a pmntului, care, prin natura lui, reprezint o metafor a nestatorniciei. Haos, scrie Gilbert Durand, era redactat pn trziu n francez sub forma cahot, adic zglial. n Jurnalul de la Tescani, Andrei Pleu, privind brazdele ntoarse de plug, ajunge la concluzia c pmntul nud e substana cea mai lipsit de determinri din cte exist: culoare incert, form inexistent, constituie indescriptibil altfel dect prin analogie cu neantul. Amprent a prezenei artistului, figurile geometrice care se repet, dei nu sunt niciodat aceleai, ngduie un ciclu inepuizabil de permutri. ncercarea sa de a construi un raport ntre cultur i natur se traduce nu numai prin ceea ce expune aici, ci printr-un discurs mult mai amplu. Regsim o minimal explicaie n acest sens i n textul personal care-i nsoete lucrrile n aceast expoziie. Motivele naturale se ntlnesc cu cele antropogene, compoziiile lui Matei Gapar. Iarba i textura acoperiului, decupat la rndul su din contextul lui i adugat compoziiilor, sunt doar dou dintre soluiile metonimiilor sale. Un artist pentru care raiunea este, cum spuneam, un factor determinant i care d, nu de puine ori, impresia unei lipse de desctuare, unui control prea bine chibzuit, unei aparent, numai, inhibri. A explica din nou acest aspect ca pe o alt component a ceramistului din el, nevoit s fie atent la controlarea raional a transformrii materiei. Un furitor, deci, n sensul cel mai nobil al termenului, cel care reueete s mixeze cu pricepere elemente diverse (tehnic, expresivitate, fantezie), toate foarte bine strunite ns, chiar dac ntr-un discurs aflat nc ntr-o faz prelogic, natural i nealterat, s spunem, a gndirii, cnd toate calitile acestea converg ntrun tip de expresie care fac din creator un personaj privilegiat i secretos.

geometrical figures are solutions, almost too rational, to bring to order something amorphous, chaotic. This aspiration is specific to the ceramist more than to anyone else and it may be revealed, as we are shown here, through alternative means of expression. Alternative, I mean, to the ceramist, as I consider the works of art of this converted ceramist, Matei Gaspar. Geometry is, nevertheless, a means o putting earth to order, earth which is a metaphor of instability by its nature. Chaos, Gilbert Durand wrote, was written for a long time as cahot in French, meaning jerk. In his Journal from Tescani, watching the furrows turned up by the plough, Andrei Plesu concludes that bare earth is the substance with no determination at all: uncertain color, shapeless, indescribable constitution other way than by analogy with nothingness. Impressions of the artists presence, the geometrical figures, repeating although not identifiable twice in repetition, allow an endless, inexhaustible cycle of interpretative views. His attempt to bridge nature and culture is obvious not only in the pieces of work within this exhibition, but in a more extensive discourse. One can find a minimal explanation in the text accompanying the sculptures in the present exhibition. Natural motifs meet the anthropogenic ones, as he explicitly confesses. The woman and the home, two expressions of the protection need, are present as disguised symbols in his compositions. The grass and the roof texture, cut off of its context, are just two of the solutions of his metonymy. Matei Gaspar in an artist for whom reason is, as I have already mentioned, a sine-qua-non factor and who often leaves the impression of a restraint, of a too reasondominated control, of a ostensible inhibition. I would explain this aspect again as a component of his inner structure as ceramist, compelled to pay attention to the rational control of matter transformation. He is a creator, thus, in the noblest meaning of the word, the one that skillfully mixes various elements (technique, expressivity, vision), all in a precisely adequate proportion, even if in a discourse in a before reason, natural and unaltered, lets say, phase of thought, when all these qualities converge in a type of expression that makes the creator a privileged and mysterious character.

POEZIA

14

Semne / Signs

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

16

17

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

18

19

Studiu / Study

Studiu / Study

20

21

Ipostaze / Hypostases

Reflecie 1 / Reflection 1

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare p

22

Reflecie 2 / Reflection 2

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oilHomo ludens 1 / Homo ludens 1 resin / p on canvas / rin sintetic synthetic

24

25

Homo ludens 2 / Homo ludens 2

Reflecie 3 / Reflection 3

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

26

27

Convergene 1 / Convergences 1

Des-ferecare / Un-locking

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

28

29

Modus vivendi 2 / Modus vivendi 2

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

Modus vivendi 1 / Modus vivend

30

31

Reflecie 4 / Reflection 4

Modus vivendi 3 / Modus vivendi 3

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

32

33

Reflecie 5 / Reflection 5 Convergene 2 / Convergences 2

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare p

34

35

Proiect 1 / Project 1

Veghe / Awakening

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

36

37

Modus vivendi 4 / Modus vivendi 4

Modus vivendi 5 / Modus vivendi 5

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

38

39

Convergene 3 / Convergences 3

Convergene 4 / Convergences 4

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare p

40

41

Convergene 5 / Convergences 5
42

Fructul oprit / Forbidden fruit

43

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare p

Proiect 2 / Project 2

Promisiune / Promise

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

44

45

Ofrand 2 / Offering 2

Ofrand 1 / Offering 1

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

46

47

Convergene 6 / Convergences 6

Complementar / Complementary

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare p

48

49

Modus vivendi 6 / Modus vivendi 6

Ofrand 5 / Offering 5

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

50

51

Alfabet / Alphabet
52 53

Maternitate / Motherhood

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare p

Pulsaie / Throb

Ofrand 3 / Offering 3

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

54

55

Reflecie 6 / Reflection 6

Reflecie 7 / Reflection 7
56 57

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare p

Modus vivendi 7 / Modus vivendi 7

Ofrand 4 / Offering 4

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare p

58

59

Alter ego 2 / Alter ego 2

Omiprezen / Ubicuity

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

60

61

EKG / EKG

Stlp / Pole

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

62

63

Reazem / Support

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

64

65

Urcai! / Ascend!

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

66

67

Jocul ielelor / The fairies dancing

Itinerar existenial / Ontological itinerary

68 69

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

Ofrand / Offering

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

70

71

Alter ego 1 / Alter ego 1

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

72

73

Alter-Ego / Alter-Ego

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / imprimare p

74

75

XO / XO

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

76

77

Tensiuni / Strains

n wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / print / lemn wood / cupru copper / fier iron / spum polyurethane / silicon silicone / desen drawing / ulei pe pnz oil on canvas / rin sintetic synthetic resin / p

78

79

80