• Sign of a Meeting

    Etching. 12" x 40"30 cm x 100 cm

    This series of prints is the result of two etched plates printed in different color combinations and rearranged during the printing process to produce new compositions. It is a visual exercise not unlike concrete poetry, where the arrangement of words on a page is as important as the words themselves.

    The imagery of this series combines visual elements with symbolic connotations inspired from traditional Romanian paintings on glass and Chinese Taoist literature.

  • Untitled

    Acrylic and photoluminescent pigment on wood panel. 6" x 6" x 2"; 15 cm x 15 cm x 5 cm

    This series departs from the imagery of Tibetan medical manuscripts, which describe the nature, characteristics and the complex interdependence that exists between our bodies, minds and the physical world.

    By using a new photoluminescent pigment that glows in the dark for more than eight hours, each panel holds two distinct images: one image visible during the day, the other generated by the photoluminescent material, in the dark.

  • Pulvis Solaris

    Etching. 17" x 30"; 43 cm x 76 cm.

    This series of prints complement the Philosopher’s Stone installation as alchemical manuscripts accompany and illustrate symbolically the different stages of the process.

    The series is comprised of six one-off prints. Each print is the result of a unique permutation between more plates. In this series up to four plates were combined on the same piece of paper, sometimes the final print baring six or seven different passes through the press. The inking process is a combination of traditional aquaforte printing methods and monoprint.

  • Shadows

    Etching. 15" x 40"; 40 cm x 100 cm.

    These prints are born from an unconventional process of printing in which multiple plates leave multiple impressions on one piece of paper that has been folded, duplicating part of the image or allowing only parts of the plate to print. Playing with color, ink marks and the specificity of working on paper generates infinite possibilities for an image to be born out of traces.

    The imagery of these series ties into my preoccupation with the dichotomy between materiality and immateriality and the forms it could be represented in a bi-dimensional space. Form this point of view I find the shadow a fascinating element of our spatial life.

    What is a shadow? A trace, a sign in which we can read our own reality. It is a symbol of our material existence. In the visible universe of form and delineation the shadow exists in an ideal state: at the half way between material and immaterial.

  • Immaterial State of Being

    Etching. 20" x 40"50 cm x 100 cm

    The imagery comes from my interest in the elemental unit of the bi-dimensional image: the dot.  A moving dot generates a line, which is an abstraction; it is the most basic form of an idea. These images are generated by an accumulation of individual lines, small little actions that left a mark. One line doesn’t express anything; but the moment it is associated with others, gains direction and a sense in space. All together generate they a world.

    Here, there are two types of images: the image that has been etched onto the plate and the final printed image. The first one is static. From the moment it was “carved” in the metal plate it will remain unchanged. It is a stopped moment in time. The printed image is the result of a process of permutations. Each pass through the press changes the image of the plate by associating it with different ones on paper. One plate creates new images every time.

  • Gestures

    Monoprint. 8" x 6"20 cm x 15 cm

    I began working on this series during a research fellowship in Venice, Italy as an attempt to decode the meaning and significance of some of the gestures represented in Byzantine iconography.

    From the myriad of gestures one makes in a single day, only a few came to be represented and withstood the centuries on the walls of cathedrals and churches. Being particularly interested in pre-Renaissance representation, I have isolated some gestures and details from the mosaics in San Marco’s Cathedral in Venice in an attempt to highlight their intrinsic expressivity and connotations outside of their apparent context.

  • Maceratio

    Monoprint. 12" x 13"4.5 cm x 5 cm

    A monoprint is a hybrid process transferring on paper the expressive qualities of painting and drawing mark-making via a plate. The plate cannot print more than one image, thus each print is unique. The monoprints were produces by drawing with ink on a plastic plate and then transferring the image to paper. During the transfer the image drawn is modified due to the quality of the ink and the pressure applied. In this proceeds I enjoy relinquishing control to the materials and allowing them to produce the final image.

    This series was inspired by alchemical manuscripts, which I find particularly significant in their ability to convey a complex narrative strictly through the use imagery.

  • Inside Out

    Etching. 20" x 40"50 cm x 100 cm

    This work is the result of two large plates printed twice each on one piece of paper. Inspired by traditional acupuncture charts, it recreates a shifting, ambiguous image of our inner body, a pseudo-scientific map of a world we only partly understand, not unlike the first attempts to map Earth.
  • Transmutations

    Acrylic on rice paper.  15" x 145'; 38 cm x 43.5 m

    Transmutations is a 145 feet (43,5 meters) long scroll of rice paper painted with ink and acrylic. This piece is a documentation of various transformations that take place with a predetermined number of materials and images, paralleling the alchemical process in which a predetermined number of substances are “cooked” in a sealed vessel (Alembic) for a long period of time.

    The alchemical transmutation that takes place in the Alembic is described as going through a Black, White and Red phase, the last signaling the end of the transmutation process and the birth of “Philosopher’s Stone”.

    This scroll parallels this process generating a piece that “evolves” from black imagery to white and finally red. This is a time-based piece in the same way a book is a time-based piece. Due to its dimensions this piece cannot be seen in its entirety, and in order to be viewed one needs to follow it along in space and implicitly in time.

  • The Androgyne

    Etching. 22" x 70"56 cm x 17.5 cm.

    This series is comprised of 24 individual prints, each the result of multiple permutations between 6 unique etched plates. The prints are shown here in groups of three.

    The imagery is a synthesis of superimposed images of Adam and Eve from an old icon on glass, a traditional form of painting found in Transylvania, combined with imagery from medieval alchemical manuscripts.

    “The Androgyne is the most abstract idea of humans about humans. Being an ideal form of existence, the Androgyne offers us the true spiritual autonomy thorough fully overcoming the contradictions and limits that hinder humans’ ability to have a cosmic experience and thus impede them to know reality”. Mircea Eliade