To me, art is a way of life, not a career.
I was born In Transylvania, in the midlle of the 20th century. Like any child, I started to sing, paint and play instruments from an early age. My teachers and family advised me to study the arts, first at musical school, then in high school, at fine arts. For the rest of my life, music and fine arts intertwined in my creativity.
I got a solid academic formation at the National University of Arts in Bucharest - at that time a six years full time classical program, including drawing, painting, sculpture, design and art theory classes. A pure happiness.
In 1976, I left the communist Romania and I managed to settle in Canada.
My first solo show – paintings and ceramic sculptures - was mentioned in a prestigious magazine by a journalist I never met and who missed the most challenging part of my work. This was my first warning of the intruders the art world is full of, and of the responsibility of the artists to defend their art.
In 1989 I got a M.A. in art history. My thesis focuses on the influence of peasant glass painting on Kandinsky's painting and about the Romanian Nicula peasant glass paintings as a precursor of abstract art.
Sadly, the 20th century art achievements gradually became a myth. The art world became a private club and a big money game and it's important who belongs to this club and who doesn't. What matters is which famous people you are dinning with, more than knowing how to draw or to paint. The most uncompromising work and the strongest ideas are the first to be ignored. It's less about the art than the special ballet around it. Art reputation depends to the same galleries, the same curators, the same collectors. It's hard and futile to get in but it can be bypassed and ignored in order to give art a new deserved direction.
I wanted my art even more liberated, detached from the physical object and exhibition walls, by leaving my sculptures to disintegrate in nature and switching to the digital image.
The digital technology and the existing software and hardware have significantly expanded my possibilities to create and manipulate the visual elements, while preserving originality to the last detail (even when AI is involved). This change allowed me as well to bring together the image and the sound. I don't compose music but I bring in the musician's creations to inspire and structure my visual art.
Internet exposure became and exclusive media where my projects are shared with the world, without any compromise or any kind of mediator. This permanent show can be of great impact because I am convinced that a work of art no longer belongs to anyone after it has been exhibited. Continuing to grow and be transformed by the public's perception, it can legitimately become a new collective creation and source of inspiration. Copyright, name and career ambitions are things of the past
The platforms I use to expose my work are YouTube, LinkedIn and Instagram. There were also Vimeo and Facebook but I wasn't allowed there to include my musical sources.
"Ghost artists” as myself are minimalist communicators, manifested publicly only by their creative concepts.
I focus on self-reference by talking only about art, which is utterly independent of all social values, financial purposes and utilitarian functions - a great lesson I learned from Vassily Kandinsky.
There is a price to pay for this marvellous freedom: my art has no references and landmarks.
My video creations are so new and surpising that very few initiates can perceive, analyze and understand them. I run my art studio from my family income and so I exist as a genuine artist.