I am a Romanian visual artist exploring semi-abstract interpretations of my surroundings and the events that shape them, infused with subtle elements of surrealism. My primary medium is black ink, often scanned and digitally transformed, though my practice also extends to photography, painting, and, on rare occasions, short video works.

Recurring themes in my art lean toward the erotic, yet always remain suggestive rather than explicit. My process is rooted in storytelling—fragmented, elusive, and deliberately incomplete. I invite viewers to wander through scattered visual cues, misread them, and reconstruct their own narrative. Even in my photographic work, I avoid full disclosure, resisting the immediacy of a single glance.

At the core of my practice lies ambiguity. I aim to create images that whisper rather than speak, stories that exist only halfway—completed by the imagination of those who choose to look closer.

If the frescoes of Pompeii and the drawings on Greek vases and pottery show us anything, it is that, long ago, it was perfectly natural to be surrounded by erotic imagery—so much so that the very word “erotic” may have lost its meaning, absorbed into the everyday. Today, however, we witness a phenomenon of anti-nudity, amplified by the censorship of works such as The Origin of the World on social media platforms.

The rigor of studying the human body—once the foundation of artistic practice—is now increasingly rare, replaced by what is often labeled as “concept.” Yet I believe art has never truly changed; it has only been marked, at different times, by varying emphases. It has never ceased to be conceptual, nor has it abandoned its aesthetic stakes. Those who painted the walls of Altamira had neither art schools nor our modern notion of “artist” or “artisan,” yet they achieved anatomically correct representations—unlike many contemporary art graduates, who often fail when drawing the human figure accurately.

In other words, perhaps humanity has lost its proper relationship with its own image. My graphic works are grounded in this observation: I deform and intersect the line as a critical stance against a society governed by false morality, a society capable of transforming what is natural into something forbidden.

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