It all started with painting and drawing, but over the years, my artwork has evolved to include sculpture, architecture and photography as well. This eclecticism is one of the prominent questions of contemporary art today in several media such as architecture, photography, painting and design. These porous and permeable limits allow for transversal experimentation, and a migration or mutation of the genres and the mediums.
Somewhere between illusion and reality, architectural or landscape photography in documentary forms, becomes an element used to build a work in its own right. Photography is no longer the end result, but a starting point or a fragment of reality. It becomes an autonomous object at times like the « Towers » sculptures, an imaginary interior of a box as in « Black Boxes » or a video animation as in the project « Into the Trance ».
Photography has always had an unstable and transitory status in my work. It is in the making, in reflection, on standby. Today, under the guise of a document, it will become tomorrow’s painting, a fragment of a sculpture, an autonomous object or nothing at all. What interests me the most is its construction, its transformation, or its metamorphosis.
Architecture of no particular value, resulting from modernism, also motivates my research and conveys a meaning to my art. I question notions of contemporary housing, from modern architectural utopia to the repetition and proliferation of the “cookie cutter” houses in the cities of Eastern Europe.
I design “INK” pieces, not through the approach of designer, but as a visual artist, which gives them a functional appearance. Yet, designed in the same manner as architectural models, they become, in the exhibition space, autonomous objects that question the relationship between the human body, architecture and sculpture. Neither seats nor real sculptures, they are only in-between objects, raw and elegant at the same time. They occupy the exhibition space to make the viewer ponder their ambiguous status.