Page 68 - Winter Issue

You've received prestigious awards like the Grand Prize from the Union of Fine Artists of Romania. How
have these recognitions impacted your perspective on Romanian art's place in the global art scene?
For me, it is truly amazing how the community can impact the art scene and how we can grow if we are recognized for
your hard work. It is an honor for me to be selected to represent my country and my field and I think it all started when I
truly believed that my job was not to just create painting but to nurture souls. In the global scene, I see Romanian artists
such as Adrian Ghenie and Dan Perjovschi who make a difference and who inspire a lot of Romanian artists to push for
a better place in the art world.
Your projects like Generative Art x Painting push into experimental territory. What inspired you to
combine generative art with traditional painting, and what challenges did this fusion present?
I am terribly grateful for so many opportunities that exist in the Romanian art scene and that I can also create them
myself. This collaboration with the Painting Department from the National University of Arts `George Enescu` is very
important to me because it impacts the view that students have in their art. Pushing boundaries and creating new
perspectives is the core of visual art and by doing this we challenge concepts, ideas, people, etc.
Reflecting on your work in group exhibitions across cities like London and Bucharest, what unique
insights have these international showcases provided regarding identity and cultural perception?
What can I say for certain is that every city and country may have different aspirations, cultures, and perspectives, but
what ties us together in the end is the inspiration. As different and unique different art scenes are, the human race
bonds with understanding each other, with empathy. What we are looking for in a successful exhibition is not only the
cultural impact or the identity it forms, but forming a connection with a piece of art.
You’ve worked with various institutions through creative camps and production camps across Europe.
How has this exposure influenced your creative process and the narratives you bring into your work?
I believe that these projects and camps don't provide the exposure people assume they do, but they challenge you to
become a better artist, a better creator, and a person. It`s important to know people from your field and this can create
multiple opportunities further down the line, but what it truly does is expand your knowledge.
Your solo exhibition Behind the Curtain suggests an exploration of what lies beneath the surface. Could
you tell us more about the themes in this series and how they relate to your exploration of identity?
My first ever solo exhibition, `Behind the Curtain`, is an exploration of the sketches and work behind a single artwork.
Thus, by understanding what lies beneath, the spectator can understand the process of art, the study, and the
knowledge that goes behind it. I was still in university when I had this idea, a rather simple concept.

Volunteering and academic engagements
seem to be integral parts of your artistic
practice. How do these experiences in
mentorship and community engagement
influence your personal and creative growth?
It is true that in art you cannot grow without your
community, we live in a rather complex society
where being alone doesn`t suit your growth. I think
volunteering for a great cause is essential for you as
a person, not only as an artist. It allowed me to see
firsthand how things are done, how an exhibition is
created, what are the steps of a Residency program,
what we are looking for in an artist, etc.

The rebirth
Oil on canvas,
100x120cm, 2023

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