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Negromundo Art Magazine

For me, my artistic education has had, and still has, an important role. By education, I don’t only mean formal artistic studies but also attending museums, exhibitions, conferences, and meeting with various artists. I think that a combination of these elements have contributed to what I now create in the studio.

After my high school studies with an artistic focus, I enrolled in the Academy of Theater, Music and Fine Arts in Chisinau (Moldova). A common element present throughout that period was the study of the human figure, but it was only after attending the graphic art course at the Academy of Fine Arts in Rome that I realized the how much the study of the human figure had influenced my research. Only after understanding the importance of the sign in graphic art as a generating element of the form did I realize that for me the nude is the informative element through which I filter my ideas.

Study, reflection, and dreams are all necessary elements in order to create new work. Oftentimes a new work uses a part of a previous piece; however, the initial sketches are the basis of the process for creating any new piece.

In my artistic research, classical art has an influence on the representation of the human figure, but I don't think we can speak here of anachronism in its historical meaning. For me, anachronism is the recovery of beauty via museums - what Dadaism and the neo-avant gardes had ruled out - and I think that, in an era where everything is subjected to the speed of consumption, resuming certain aspects such as maintaining quality in painting is one of the ways in which artists can respond to this mechanism present in our society. For me that doesn’t mean negating the historical value that the neo-avant gardes have left us, but rather trying to reconcile these periods through my own sensibility. No, I think that everything happens naturally by cause and effect.

I like to think of the nude as truth, an idea that becomes flesh and must be expressed. In this way the works do not show an ideal of beauty but pass through these forms that cannot necessarily be cataloged in a collective degree of magnificence. The naked representation of the flesh, therefore, is not the melancholy ardor for a remote time but is the primordial love for man, for the shadows cast by him over time.

The time required to complete a work compared to another varies, but I would say that the commitment and dedication to each piece is the result of daily, methodical work.

I think it depends on several factors, such as the harmony with one's own artistic research, who the client is, and the setting where the piece will be placed.

I don't like talking about style, even if I understand that no one can escape from history and its artistic periods, but currently I don't feel like commenting about it.

When I think of the relationship of the human body and the cosmos I think of their union. The image that is embodied is similar to a celestial body - it travels before falling to earth or elsewhere, but the energy present in both is the common element that unites everything and everyone. Yes, this idea is present in all of my work.

At the beginning of my artistic career, I was passionate about both periods, but I think that only a few traces can be seen in recent pieces.

Artistic schemes and the form are only tools which are used to make the thought behind the images visible; for this reason I believe that artists today must use elements of figure or abstract art in relation to the idea or feeling that he/she wants to express; both are closely related (zooming in on a figure painting can be perceived as abstract, while from a distance that once-perceived abstraction is seen as a figure). It’s enough as long as it is valid and it works. Thank you for this interview!