Adapost (Shelter)
“Shelter” emerges as a conceptual axis through which the artist examines the evolution of protection—from the primordial safety of the intrauterine space to its gradual fragmentation under the pressures of contemporary existence. The works navigate this transition by situating the idea of shelter within unstable, unfinished structures, where glass surfaces absorb and reflect shifting skies, blurring the boundary between the tangible and the ephemeral. This architectural metaphor becomes a vessel for tension: between fragility and adaptability, anxiety and transcendence, material weight and immaterial possibility. As the narrative unfolds, shelter dissolves from a physical construct into a psychological and spiritual condition—a continuous effort to rebuild meaning within uncertainty. Ultimately, the compositions guide the viewer toward an inner refuge, where memory, light, and essence converge, proposing a cyclical return to equilibrium beyond the limits of the body, in a space shaped as much by vulnerability as by resilience.
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REACT
“React” unfolds as a layered visual inquiry into the tension between human intervention and natural resilience, where distorted fluorescent portraits and reconfigured industrial remnants operate as both evidence and warning. The artist constructs a symbolic field in which broken cymbals, guitar strings, and synthetic fibers are displaced from their original function and reassembled into forms that oscillate between decay and regeneration. Within this framework, the viewer is drawn into a reflective space where destruction is not merely represented but implicated, and where each material transformation suggests the latent possibility of renewal. The compositions move between apocalyptic density and fragile emergence, inviting a reconsideration of authorship, responsibility, and continuity—proposing that the act of creation itself can become a gesture of repair within a fractured ecological narrative.
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PLACE MARKED
The structured movement of horizontally raised elements controlled by the end accents or chromatic degradations are temporal sequences that remind of the great migrations and contemporary displacements. The artist allows the viewer to sink into his canvas as a clear sea or float on a starless sky to discover that what is in the form is much profounder and deeper than expected. Repetitive on the surface , in squares cut in the form of inserts made from space, the portions of matter and physical space intuitively overlapped suggestively to give rise to a metaphorical dimension of the composition. The poetry of the artist sends to the present, at the transfigurations that take place at the individual level as a result of collective transformations.
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By Maria Bilaşevschi
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Of The Earth
The earth gathers and shifts. From the smallest of piles one can gather in a fistful, to the churned soil from the foundations of a building, we are confronted with a temporal process. The soil will nurture another tree, another dream, another becoming. The earth decomposes itself it creates territories. It dictates borders and it falters into seas. It finds its way across myths and it appears in our mythologies and pasts. Earth, dust, soil.
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by Cristina Stoenescu
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Quinquinala
The concept of “assemblage” from which I started is the reuse of textile material ‘worn’ by each of my friends. I chose the person to be represented by a disc, not random, but as a bi-dimensional reduction of the sphere which portrays the ‘egg of the world’. We will find in each artwork the soul, circle – white, and the body, substance – colors. 17 flags are hoisted, a sort of personal statement, with positive energy forming an entire ensemble on wheels which can put in motion a march of good feelings, of the joy to live.
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Acustyc
I am looking at a tangled, twisted and indecipherable pile of guitar strings wanting to give them a new purpose. I am wondering how were they used ? What sign has been imprinted in them? Is it music? Are the sounds sharp or flat? But can it also be tuning instruments?
I am stepping in on blue shade canvases, with a new musical composition in order to create harmonious tensions, geometrical shapes or sinusoids by alternating slim and thick lines, in another sort of easel graphics. Growth, germination, mathematical graphics and positive symbols full of optimism will be found.
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by Ile Stefi
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The False Shame
“Painter Ileana Stefanescu (“Ile Sefi” from now on) volumetrically fills visual space with ‘mannequins’: a sort of carnivorous-orchids made from cellulose waste and veils of colored wire. Thus she obtains unusual postures of torsos modeled in industrial paste paper. Butaforically, but also metaphorically, it is about chopped magazines (glossy ones let’s assume) whose canopy mortar becomes leather for anatomically shaped framings. Husked, easy-going and even kinetically, the faceless dames ‘installed’ by Stefi in the Simeza Gallery accompany a frieze full of narrative intrigues…” Aurelia Mocanu, June 2012.
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