Skip to main content

Commissioned & in Private/ Public Collections


Constantin Brâncoveanu (2015), Potlogi Palace Museum



Maria încă de la 1980 (2008), commisioned for the actress Maria Popistașu



Diptic Racoviceanu (2002), Racoviceanu family collection



Două vaze (Don Quijote și Sancho Panza) (2009), Ar. Oana Bede collection



Natură cu calorifer (2010), Ar. Oana Bede collection



Autoportret primăvara (2006), Daniel Ioan’s collection of self-representations in the Romanian Art



Imortele violet (2011), Stephen Goldsmith collection



Crizanteme (2009), Marini collection



Meri din grădin Ancuței (2016), Ancuța Vameșu collection



Crizanteme și tufănele (2009), Marin family collection



Comments

Popular posts from this blog

Arta conceptuală

- dialog cu AI - Eu: Arta conceptuală poate fi judecată doar pentru idee sau și pentru realizare? AI: Arta conceptuală este unul dintre cele mai fascinante și dezbătute subiecte din lumea artei tocmai pentru că provoacă definiția tradițională a „operei”. Răspunsul scurt este: arta conceptuală este judecată în primul rând pentru idee, dar realizarea joacă un rol mult mai important decât pare la prima vedere. Deși pilonul central este conceptul, modul în care acesta este transpus în realitate determină succesul sau eșecul lucrării. Iată cum se împart cele două tabere în evaluarea unei lucrări conceptuale: 1. Primatul Ideii (De ce ideea este rege) În arta conceptuală, textul, schița sau pur și simplu instrucțiunile pot reprezenta lucrarea în sine. Artiști pionieri precum Sol LeWitt afirmau clar: „ Ideea devine o mașinărie care generează artă” . Valoarea intelectuală: Lucrarea este judecată în funcție de originalitatea, profunzimea sau ironia c...

Twig & Wilde

  ”It is tragic how few people ever ‘possess their souls’  before they die. ‘Nothing is more rare in any man,’  says Emerson, ‘than an act of his own.’  It is quite true.  Most people are other people. Their thoughts are some one else’s opinions, their lives a mimicry, their passions a quotation. Christ was not merely the supreme individualist, but he was the first individualist in history. People have tried to make him out an ordinary philanthropist, or ranked him as an altruist with the scientific and sentimental. But he was really neither one nor the other. Pity he has, of course, for the poor, for those who are shut up in prisons, for the lowly, for the wretched; but he has far more pity for the rich, for the hard hedonists, for those who waste their freedom in becoming slaves to things, for those who wear soft raiment and live in kings’ houses. Riches and pleasure seemed to him to be really greater tragedies than poverty or sorrow. And as for altruism, who ...

Alchemy in Reverse / Alchimia inversă

  "What a gulf between impression and expression! That’s our ironic fate—to have Shakespearean feelings and (unless by some billion-to-one chance we happen to be Shakespeare) to talk about them like automobile salesmen or teen-agers or college professors. We practice alchemy in reverse—touch gold and it turns into lead; touch the pure lyrics of experience, and they turn into the verbal equivalents of tripe and hogwash.”  - Aldous Huxley, The Genius And The Goddess But do we all have Shakespearean feelings...? , the dialogue continues in the book. What interests me now is completing a thought mentioned in the previous post—the one about Magritte, communism, and the apple. The mystery of what exists, and the mystery capitalized on / conveyed / created through artistic means. I do not crush the wonders' corolla of the world And do not kill with my mind the mysteries that I meet On my way In flowers, in eyes, on lips or graves. The light of others Strangles the spell of the unpene...