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Projects
Welcome to my portfolio. Here you’ll find a selection of my work. Explore my projects to learn more about what I do.
4-Depth Observation
The project poetically constructs the act of observing, as well as the modular structure of an astronomical observatory, by creating “lenses” from resin with asymmetric and unconventional shapes, the “space” represented by the grainy sky of film photographs, and the structure of the telescope, modeled and 3D-printed, along with an artistic text that contains keys to double meanings. The technical and calculated side is carefully interwoven with the metaphorical, deconstructing physical spaces and mathematical equations in a playful manner that speaks to the speculative sensitivities of people, especially of the project's author.
The images that serve as a backdrop for the objects are created on 35mm film, taken in different years, capturing the sky in various stages. They are oversized so that the film’s grain serves as metaphorical “stars” on an almost intelligible sky, creating a poetic micro-universe. The spots from the film’s developing substances, the grain, clouds, and horizon line mark phrases from a personal artistic language. The resin as an object adheres to the print, creating a new mediated way of viewing the sky. The 3D object acts as a vector toward the artistic text, as well as a conceptual weight for the work.
The images that serve as a backdrop for the objects are created on 35mm film, taken in different years, capturing the sky in various stages. They are oversized so that the film’s grain serves as metaphorical “stars” on an almost intelligible sky, creating a poetic micro-universe. The spots from the film’s developing substances, the grain, clouds, and horizon line mark phrases from a personal artistic language. The resin as an object adheres to the print, creating a new mediated way of viewing the sky. The 3D object acts as a vector toward the artistic text, as well as a conceptual weight for the work.
One-armed race against memory
This project is a new media installation, created with an object reclaimed from a past period, that the displayed videos speak about. The film, on the exterior door is an assembly that excites the viewer, through unexpected juxtapositions of frames: fruits, images of Romania's golden star in gymnastics, Nadia Comaneci, and scenes extracted from Harun Faroki and Victor Ujica's film, "Videograms". The montage speaks about collective memory and trauma, as well as an interest in the historical dynamics of
events. Inside the car door, more precisely, on the rearview mirror, small images in the form of GIFs of family photographs are projected, narrating a personal history that unfolds within the family environment concurrently with the communist revolution from 1989, and historical events, as a retrospective glance. The title "One-armed Race against Memory" refers to the personification of the Dacia car, a symbol of Romanian production and a highlight of national glory, and to the fact that from it remains a single "arm", which fights against forgetting and against the repetition of history. It is a steadfast symbol of the moralizing events of the past.
Link to video: https://youtu.be/0KOlI-MHFbo
Project exhibited in:
YOUNG ARTISTS CONNECTIONS, MNAC, Bucharest, Romania,
September- October, 2020
Domestic Dissidence, Victoria Gallery, 2019
Artsafari: Young Blood, Bucharest, Oscar Maugsch Palace, 2019
Regenerator: Micro-festival of performative and visual arts, Teatru Fix,
Hala Fix, Iasi, 2019
Dezarhivari, ApARTE Gallery, Iasi, 2018
Link to video: https://youtu.be/0KOlI-MHFbo
events. Inside the car door, more precisely, on the rearview mirror, small images in the form of GIFs of family photographs are projected, narrating a personal history that unfolds within the family environment concurrently with the communist revolution from 1989, and historical events, as a retrospective glance. The title "One-armed Race against Memory" refers to the personification of the Dacia car, a symbol of Romanian production and a highlight of national glory, and to the fact that from it remains a single "arm", which fights against forgetting and against the repetition of history. It is a steadfast symbol of the moralizing events of the past.
Link to video: https://youtu.be/0KOlI-MHFbo
Project exhibited in:
YOUNG ARTISTS CONNECTIONS, MNAC, Bucharest, Romania,
September- October, 2020
Domestic Dissidence, Victoria Gallery, 2019
Artsafari: Young Blood, Bucharest, Oscar Maugsch Palace, 2019
Regenerator: Micro-festival of performative and visual arts, Teatru Fix,
Hala Fix, Iasi, 2019
Dezarhivari, ApARTE Gallery, Iasi, 2018
Link to video: https://youtu.be/0KOlI-MHFbo
Indicative Correlation
The project portrays enacted scenes from the Romanian
experience, captured in a documentary fictional manner, set in the rural world found in the county of Iasi, complemented by the naturally solitary, nocturnal atmosphere, capturing the
emblematic narrative of the spaces. Marginality, the fusion
between personal, psychological, and emotional space, and the closely related public space, as well as the real or imaginary boundaries, determine phenomenological socio-cultural interactions. The dynamics of understanding the object of symbolism and collective history result in strongly identity-marking experiences, of marking, evocation, or identification with the subtextual narrative of the image, and become the subject of a dialogue about humanity that seizes and has an intimate relationship with it, sometimes not being mutually exclusively subverted with its environment. While some of the presented images refer to the ennoblement of the Romanian village through the artistic vision, others speak about the post-communist remnants, that is, crystallized moments of an era reduced to its essence in the form of reliefs.
Project exhibited in:
Contemporary Art Biennial, Skopje, Macedonia, MoCA, Museum of Contemporary Art, 2023
Be the outside/Looking in, Solo Exhibition, Victoria Art Gallery, Iasi, Romania, 2021
Intersection Festival, Coruna, Spain, 2021
Digging into the Mirror, ApARTE Gallery, Iasi, 2020
COLECTIVE WALLS - LIMINAL MARKS, National Art Museum of Moldova, Chisinau, July 2024
experience, captured in a documentary fictional manner, set in the rural world found in the county of Iasi, complemented by the naturally solitary, nocturnal atmosphere, capturing the
emblematic narrative of the spaces. Marginality, the fusion
between personal, psychological, and emotional space, and the closely related public space, as well as the real or imaginary boundaries, determine phenomenological socio-cultural interactions. The dynamics of understanding the object of symbolism and collective history result in strongly identity-marking experiences, of marking, evocation, or identification with the subtextual narrative of the image, and become the subject of a dialogue about humanity that seizes and has an intimate relationship with it, sometimes not being mutually exclusively subverted with its environment. While some of the presented images refer to the ennoblement of the Romanian village through the artistic vision, others speak about the post-communist remnants, that is, crystallized moments of an era reduced to its essence in the form of reliefs.
Project exhibited in:
Contemporary Art Biennial, Skopje, Macedonia, MoCA, Museum of Contemporary Art, 2023
Be the outside/Looking in, Solo Exhibition, Victoria Art Gallery, Iasi, Romania, 2021
Intersection Festival, Coruna, Spain, 2021
Digging into the Mirror, ApARTE Gallery, Iasi, 2020
COLECTIVE WALLS - LIMINAL MARKS, National Art Museum of Moldova, Chisinau, July 2024
This is speculation and/or/not science
The project This is speculation and/or/not science stems from the curiosity about how we can measure our spatial presence over time. Specifically, it explores how one's bodily footprint could be calculated from birth to disappearance. Questions such as "How do you feel about the temporal footprint of your body?" and "Can we create a topographical map of your body by shaping space?" were presented in the form of audio narration, accompanied by images and graphics embedded in resin. They represented a meditation on life from a certain poetic and mathematical perspective. The approach to this subject was realized through the project's examination of the temporal nature of the space occupied by our bodies, attempting to answer questions related to the ephemeral nature of our existence. Memory is a fascinating mechanism; it is a living body in constant flux, creative, deceptive, exuberant, and seductive. The traces of memory lie on the border between fiction and reality. We traversed with a broad perspective, demystifying certain myths about the body, those internal stories we all repeat about life, non-existence, transformation, and transcendence. I used memory as a retroactive support background.
Link to sound: https://youtu.be/0KtQ8XQxk68
Project exhibited in:
Fabulating about a Gelato Machine, Brașov Art Museum, Brașov,
November 2023 - March 2024.
Link to sound: https://youtu.be/0KtQ8XQxk68
Project exhibited in:
Fabulating about a Gelato Machine, Brașov Art Museum, Brașov,
November 2023 - March 2024.
Methods to cope with Entropy
The project Methods to cope with Entropy is based on the creation of a book containing "instructions" or personal observations by the artist, touching upon various aspects of human life, which, to some extent, through their nature or through subterfuge and digressions, are methods of confronting, enduring, or avoiding the processes of transformation, degradation, and chaos inherent to existence. The meditation on these states is achieved both textually and essayistically and through cyanotype interventions found in the book. The book is an artistic object representing a nuanced and specific perspective on both the environment and the subject. The materials from which the book is created are unconventional, a polyplan with glass fiber, which provides a soft texture, resistant to touch and handling, and cyanotypes made on canvas, inserted throughout the pages. These materials were used to convey a tactile and sensory experience when the object is handled by the public. The
materiality of human existence is flexible, fluctuating, metamorphic, resilient, but ephemeral in its condition, a
state emphasized by the nature of the approach to the subject and the practice of touching and manipulating
the artistic object. Topics such as astrology, work time, or social relationships are explored at the intersection of anthropology, psychology, and social studies, marking a personal meditation on how each subject serves as a method of confronting or escaping the state of entropy, or more precisely, the fears and anxieties related to disappearance and degradation. The book does not claim to be a scientific study but rather a review of personal, intimate examinations of the human condition in the face of difficult issues. Cyanotype is a classic printing method traditionally used with a photographic negative, but in this book, it will
be used in a painterly, gestural, and recognizable manner. Cyanotype is a transfer of substance, yellowish, almost invisible when placed on a support. Exposed to sunlight for a period, it reveals results in intense blue shades. The choice of using abstract photographs, taken on film and scanned, printed between chapters, and cyanotypes placed as interventions created on a different type of material, is a strategy for manipulating the photographic medium to highlight the artist's interest, who predominantly works in post-medium and post-photography concepts. The interest in intermedial experimentation is what led to this artist's book, which sits at the intersection of photography, object, and text. The working process took the form of composing the text, searching for unconventional materials for the printing process, assembling the book in the studio by adhering to it, using light-sensitive cyanotype substances to create some graphic or illustrative interventions, and placing them in the final object.
The complete book in digital format can be found here:
https://drive.google.com/file/d/1jSL0yvyCRuTctHwdCbMx5uxPzsbFDgys/view?usp=sharing
Project exhibited in:
EXPLORING PLUREALITIES, Working Artspace and Production, Bucharest, April 2024
materiality of human existence is flexible, fluctuating, metamorphic, resilient, but ephemeral in its condition, a
state emphasized by the nature of the approach to the subject and the practice of touching and manipulating
the artistic object. Topics such as astrology, work time, or social relationships are explored at the intersection of anthropology, psychology, and social studies, marking a personal meditation on how each subject serves as a method of confronting or escaping the state of entropy, or more precisely, the fears and anxieties related to disappearance and degradation. The book does not claim to be a scientific study but rather a review of personal, intimate examinations of the human condition in the face of difficult issues. Cyanotype is a classic printing method traditionally used with a photographic negative, but in this book, it will
be used in a painterly, gestural, and recognizable manner. Cyanotype is a transfer of substance, yellowish, almost invisible when placed on a support. Exposed to sunlight for a period, it reveals results in intense blue shades. The choice of using abstract photographs, taken on film and scanned, printed between chapters, and cyanotypes placed as interventions created on a different type of material, is a strategy for manipulating the photographic medium to highlight the artist's interest, who predominantly works in post-medium and post-photography concepts. The interest in intermedial experimentation is what led to this artist's book, which sits at the intersection of photography, object, and text. The working process took the form of composing the text, searching for unconventional materials for the printing process, assembling the book in the studio by adhering to it, using light-sensitive cyanotype substances to create some graphic or illustrative interventions, and placing them in the final object.
The complete book in digital format can be found here:
https://drive.google.com/file/d/1jSL0yvyCRuTctHwdCbMx5uxPzsbFDgys/view?usp=sharing
Project exhibited in:
EXPLORING PLUREALITIES, Working Artspace and Production, Bucharest, April 2024
Monumental Bills
The Monumental Bills project connects archives of images of abandoned, refurbished, privatized, or repurposed monuments with the artist's personal narrative thread. It highlights the condition of heritage buildings along the train route from Iasi to Bucharest, a route the artist regularly travels to work in the capital. Heritage buildings serve as testimonies to history and cultural diversity. Medieval castles, Byzantine churches, aristocratic palaces, and traditional peasant houses mark the cultural and social significance through diverse architectural forms. Protecting and preserving these edifices is crucial in sustaining collective identity, yet authorities, in most cases, sideline these buildings in terms of investment if they are not located in touristic or commercial areas. Many of them have been sold and privatized, neglected and overlooked. The buildings can be seen in the distance from the train carriages traveling on the Iasi- Bucharest routes. The monuments themselves are metaphors for centralized cultural investments and the lack of allocation of funds to marginal areas in an inefficient economy. The form of this project involves exploring image archives, along with the mapped route through on-site viewings of online maps, printed on receipt paper, extending for several tens of meters, resembling vines, reflecting the green protrusions that often surround decaying buildings. The prints are complemented by a video projection of abstract objects that resemble boulders, digitally constructed from facets of the buildings.
Link to video: https://youtu.be/EZEbiGU2syU
Project exhibited in:
Frozen Narratives: A Collection of Lived Moments, CAV Gallery, Bucharest, Romania, October, 2024
MULTISPECIES, Working Artspace and Production, Bucharest - Casa Avramide, Tulcea, April-August 2024.
Link to video: https://youtu.be/EZEbiGU2syU
Project exhibited in:
Frozen Narratives: A Collection of Lived Moments, CAV Gallery, Bucharest, Romania, October, 2024
MULTISPECIES, Working Artspace and Production, Bucharest - Casa Avramide, Tulcea, April-August 2024.
Dallas
The project encompasses personal narratives in a comparative context of
developed urban areas versus a marginalized neighborhood. The project aims to bring to the forefront a general awareness of the existence of an isolated, unregistered, and marginalized community, by the authorities. It is represented in a post-documentary, installative manner, communicating a personal vision based on proximity and the crafting of juvenile mythologies. Diametrically opposed to the interests of capitalist investors, this ironically, so-called "Dallas" neighborhood does not present "opportunities," so urbanization and maintenance of an uninhabited clandestine land are not only undesirable but also fenced off by a wall that separates social strata in a utilitarian manner. The gallery reconstruction of the two zones at the extremes of the urban development spectrum represents a personal objective of the artist, with the population in the throes of school dropout, facing critical financial situations, living in poor hygiene conditions, juxtaposed with an area a few dozen meters away that receives the attention of authorities and is a center of commercial interest, marking a differentiation that can be extrapolated both nationally and globally. The installations and photographic works aim to immerse the audience in the atmosphere of urban dystopia.
Project exhibited in:
Contemporary Art Biennial, Skopje, Macedonia, MoCA, Museum of Contemporary Art, 2023
Be the outside/Looking in, Solo Exhibition, Victoria Art Gallery, Iasi, Romania, 2021
Intersection Festival, Coruna, Spain, 2021
Digging into the Mirror, ApARTE Gallery, Iasi, 2020
COLECTIVE WALLS - LIMINAL MARKS, National Art Museum of Moldova, Chisinau, July 2024
developed urban areas versus a marginalized neighborhood. The project aims to bring to the forefront a general awareness of the existence of an isolated, unregistered, and marginalized community, by the authorities. It is represented in a post-documentary, installative manner, communicating a personal vision based on proximity and the crafting of juvenile mythologies. Diametrically opposed to the interests of capitalist investors, this ironically, so-called "Dallas" neighborhood does not present "opportunities," so urbanization and maintenance of an uninhabited clandestine land are not only undesirable but also fenced off by a wall that separates social strata in a utilitarian manner. The gallery reconstruction of the two zones at the extremes of the urban development spectrum represents a personal objective of the artist, with the population in the throes of school dropout, facing critical financial situations, living in poor hygiene conditions, juxtaposed with an area a few dozen meters away that receives the attention of authorities and is a center of commercial interest, marking a differentiation that can be extrapolated both nationally and globally. The installations and photographic works aim to immerse the audience in the atmosphere of urban dystopia.
Project exhibited in:
Contemporary Art Biennial, Skopje, Macedonia, MoCA, Museum of Contemporary Art, 2023
Be the outside/Looking in, Solo Exhibition, Victoria Art Gallery, Iasi, Romania, 2021
Intersection Festival, Coruna, Spain, 2021
Digging into the Mirror, ApARTE Gallery, Iasi, 2020
COLECTIVE WALLS - LIMINAL MARKS, National Art Museum of Moldova, Chisinau, July 2024
I taught AI my story
The project I taught Al my story consists of creating an animation of archival photographs through Artificial Intelligence interfaces, providing both photographic and textual support for "Al" to "learn" the story of how my family was created. I compiled an explanatory rebus, didactic in nature, for this "Al," to familiarize it with the "meaning" of the words it conveys. All of this was an experiment using various techniques and platforms to understand how photography can be manipulated, revitalized, reinterpreted, and resignified in the era of AI, attempting a semi-poetic, semi-didactic approach towards this implicit character whom we "instruct" about the human experience, subsequently examining the results it produces.
Link to video: https://www.youtube.com/watch?v=RhDBK-pwc3c&list=PLYp3qyn8g8g8lvr0IKSsKgrCgTajIwsf-&index=6
Project exhibited in:
Coastal Archives, GAV Gallery, Bucharest, December 2023
Link to video: https://www.youtube.com/watch?v=RhDBK-pwc3c&list=PLYp3qyn8g8g8lvr0IKSsKgrCgTajIwsf-&index=6
Project exhibited in:
Coastal Archives, GAV Gallery, Bucharest, December 2023
Bricolage
The Bricolage project was carried out during the Rise of Women in Balkans artistic residency in Zadar, Croatia. It was based on interviews conducted with locals to determine modern speculations and urban mythologies, as well as public opinion about the space of the city of Zadar. These interviews were translated into images, both staged and spontaneously discovered, and interspersed with metaphorical texts written by the artist or taken from educational materials found in a Squatting/ Okupa building, where she also took images. Squatting/ Okupa is a social movement involving the occupation of uninhabited houses, buildings or unused land without the consent of the legal owner, with the aim of using them for housing, agricultural, social, or cultural purposes.
Project exhibited in:
Local (H)ours, Tranzit House, Iasi, November 2023
Rise of Women, Committee de Regions, Brussels, Belgium, February 2023
Project exhibited in:
Local (H)ours, Tranzit House, Iasi, November 2023
Rise of Women, Committee de Regions, Brussels, Belgium, February 2023
Superficial space: a negative recollection
Superficial Space: a Negative Recollection is an experiment expressed through a series of images, drawn on 300g watercolor paper with cyanotype substance, about spaces previously photographed on instant polaroid types of images, serving as representation of the metaphysical space at the border between perception and affective construction, at the marginality and deficit of representation in visual communication media, between sign and language. Light-sensitive substances are traditionally used, photographically with a negative, but through a subversive, painterly gesture to this paradigm, the classical nature of image rendering, as it is in itself, is reconfigured, becoming a mode of representation of the photographic imaginary and memory of the image (from the moment of viewing to the moment of reproduction on paper). The reference image itself becomes a representative of the research into expressive forms of the environment, being a format often encountered in the 1950s, of instant photography, which relies on the spontaneity of the moment.
Project exhibited in:
Mail-art, Drossu Gallery, Iasi, 2023
Logic of Memory, Switchlab, Bucharest, 2022
Project exhibited in:
Mail-art, Drossu Gallery, Iasi, 2023
Logic of Memory, Switchlab, Bucharest, 2022
ReBloc
The Re Bloc project is exclusively composed of analog
photographic scraps extracted from personal archives, as well as those of acquaintances. Placing them within a block structure highlights a broad perspective on the substrate of archival photographic memory, akin to a distant gaze through the windows of strangers where fleeting images of inhabitants can be observed, often reflections of light combined with the materials of curtains, silhouettes, actions glimpsed in the moment. As one approaches the print, more and more details in the abstract photographs will be noticed, but overall they will create a sensation of immersion and pseudo-intrusion into a world to which we do not belong, a visual voyeurism of the substrate of the scraps of lives.
The project was adapted for the Facebook platform in the Artists Together project in collaboration with the Cluj Cultural Center, 2019.
Link to video:https://youtu.be/CLq_Q6C-dbU
The project was presented in the exhibition:
Artists Together, TIFF, Cluj-Napoca, 2019
Dezarhivari, ApARTE Gallery, Iasi, 2018
photographic scraps extracted from personal archives, as well as those of acquaintances. Placing them within a block structure highlights a broad perspective on the substrate of archival photographic memory, akin to a distant gaze through the windows of strangers where fleeting images of inhabitants can be observed, often reflections of light combined with the materials of curtains, silhouettes, actions glimpsed in the moment. As one approaches the print, more and more details in the abstract photographs will be noticed, but overall they will create a sensation of immersion and pseudo-intrusion into a world to which we do not belong, a visual voyeurism of the substrate of the scraps of lives.
The project was adapted for the Facebook platform in the Artists Together project in collaboration with the Cluj Cultural Center, 2019.
Link to video:https://youtu.be/CLq_Q6C-dbU
The project was presented in the exhibition:
Artists Together, TIFF, Cluj-Napoca, 2019
Dezarhivari, ApARTE Gallery, Iasi, 2018
Dacia, mon amour
In this film, I explore and delve into themes such as post-memory, anti-archives, deconstruction, as well as docu-fiction, experimenting with color, sound, classical filming techniques, and digital video montage techniques. At the intersection of these themes, the project outlines a journey from its beginning, where the image represents local urban spaces and is accompanied by a narrative text, to its second half, where the image transforms into documents from personal family archives, constructing a documentary fiction. The journey marks the description of the Dacia car, a national symbol of patriotism and the totalitarian system in which times it was built, to the journey into an imaginary space where the only characters exist in the form of photographic representation. The Dacia car constitutes a pseudo-memory passed down,
emotionally from generation to generation, about which I relate in a manner akin to an advertisement, based only on the few remaining ad materials about it. Thus, from the perspective of a person born post-revolution, I construct an imaginary story, a docu-fiction, deconstructing and reconstructing symbols, both national and personal, to highlight the perspective towards the environment of influence in which I grew up. I analyze the temporal propagation in the family tree as well as the stage of personal comprehension regarding photography as memory and photography as a memento. While the path, followed in the work, is one with personal undertones, the narrative voice refers to a national consciousness, cumulated, and intuitively leaning through the environment towards a descendant.
Link to video: https://youtu.be/1u8j-mxzDGU
Project exhibited in:
Be the outside looking in, personal exhibition, Iasi, Romania, 2021
Intersection, Coruna, Spain, 2020
emotionally from generation to generation, about which I relate in a manner akin to an advertisement, based only on the few remaining ad materials about it. Thus, from the perspective of a person born post-revolution, I construct an imaginary story, a docu-fiction, deconstructing and reconstructing symbols, both national and personal, to highlight the perspective towards the environment of influence in which I grew up. I analyze the temporal propagation in the family tree as well as the stage of personal comprehension regarding photography as memory and photography as a memento. While the path, followed in the work, is one with personal undertones, the narrative voice refers to a national consciousness, cumulated, and intuitively leaning through the environment towards a descendant.
Link to video: https://youtu.be/1u8j-mxzDGU
Project exhibited in:
Be the outside looking in, personal exhibition, Iasi, Romania, 2021
Intersection, Coruna, Spain, 2020
Margins of the Unlisted
This project is based on an analysis of both virtual and real spaces of degradation, preceded by a totalitarian system and a nostalgia for trends propagated in the media and online world. The project aims to explore the concept of post-memory in the context of a postcommunist society. Margins of the Unlisted is an exploration of vaporwave, low-fi, and eccojams subcultures, in a disjointed parallelism with areas left in ruins after the 1989 Revolution, when the fall of communism resulted in the abandonment of the means of production. The work deals with the analysis of virtual spaces, as much as real ones, which are prone to decaying, after a totalitarian regime and a nostalgia for trends spread in the mass media and on the internet.
Project presented in:
Outside of visible time, Piatra Neamt Art Museum, May, 2024
Post-Photographic Narratives, WASP Bucharest, 2019
Street Delivery, Iasi, 2019
Reprocessing Memory, July 2018, Victoria Gallery, Iasi, Romania
Project presented in:
Outside of visible time, Piatra Neamt Art Museum, May, 2024
Post-Photographic Narratives, WASP Bucharest, 2019
Street Delivery, Iasi, 2019
Reprocessing Memory, July 2018, Victoria Gallery, Iasi, Romania
Stay home
The work has been constructed from photographic scraps and argentic archive, in the COVID-19 pandemic seclusion period, representing an artistic manifestation over the personal, as well as the global situation, which influenced the need for expression in the digital sphere. It takes on the necessary precautions for safety and it has been presented on a public display of publicity digital banners.
Cryogenic
The object is an extension, or even a representation of the artist. This "cryogenization" of personal space through the accumulation of symbol objects from the sphere of intimacy leads to an elaboration, even a dissection of one's own person. The value of a physical immortalization, like photography as an object, is, after all, the return to a moment captured in time that can only be visited mentally.
Project exhibited in:
P.F.ARTIST, ApARTE Gallery, Iasi, 2017
Project exhibited in:
P.F.ARTIST, ApARTE Gallery, Iasi, 2017
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