My work is an attempt to create living landscapes made out of paint. I have developed a unique technique to paint by using my own designed .My paintings have a voice. They breathe, taking their own forms and personality. My paintings are a source of energy, positive, monstrous, powerful, a creature which metamorphoses as I work.

The mechanical reproduction of my landscapes associates with the society we live in. However mechanistic and industrial our society is, at the end of the day the society is organic. Like Nature the culture and society basic system is to grow, to give life, reproduce, to appear unchanging but also be in a constant dynamic state.

Pushing the materiality of paint to the extreme is the articulation of my desire to make an impact in the world, to influence and demodulate the future.

Originally I am from Romania but I have been leaving in UK for almost 8 years now. The journey has been an extraordinary one, beginning in communist Romania and hand up here in a world of exploration and opportunities. The juxtaposition of then and now is vivid. All Romanians were dominated by the dictator Nicolae Ceaușescu. When he fled, his spectre was seemingly omnipresent in the city I was living. People conducted armed searches. In every shadow, around every corner he was ‘spotted’. A volley of shots would ring out to flush him into the open. We took refuge in a basement, terrified until it was safe to emerge. Therefore a background of fear was prevalent. But that experiences made me stronger and the courage that I developed through life it seen in the challenges that I take in my work. From the earliest days my painting was always expressive and experimental. I worked with colour but never liked to control it but the other way around. The work has always centred on expression, exploration, letting go and searching.

Inevitably my work is an integral aspect of my personality and experience.  In fact, these paintings are the poetry of my life. The manner of exploring and expressing vitality of colour pigments are intrinsic with expression. I write physically not just in paint and sometimes the two processes become one.

I have been compared with artists from the Impressionist movements as my colours are impressionistic. But my influences are diverse from Richter (for the mechanical application of paint to Riley (optical illusion and escape), Ho Tzu Nyen (squeezing paint from the tube) through to Alexis Harding (who utilises a reactive and passive process of paintings) He believes as I do, paintings take a life of their own).

 My own work has come to recall painterly conceptualism as I accumulate layers and kilograms of paint over time. But this is just one facet of the work. The other revolves around the design of machines and tools to assist in the application of paint. They are a fundamental element but are always hidden. The means are always disguised. They are part of an obsession. This obsession emanates from the need to use mechanical tools to create the landscapes of "society", to commune with cities and the metropolis that constantly shift and reshape the natural environment. The representation of this flux which impacts profoundly on culture, milieu and society is the central motif in my work.