I N O R G A N I C - the new era of embodiment



The body ego, as Freud said, that is, the most primitive and physical and organic ego.

It becomes clear that the violent conceptual explosions that have recently taken place were decisively influenced the re-definition of body images, of body perceptions.

Fifty years ago, the Francis Bacon thought, aimed to restore the body “to a kind of dignified, animal resignation”. For him, art was about ribs and forearms and eye sockets. "It was about flesh over bone. Bacon never forgets that flesh is meat".

In my case, the bone become excessory, the flesh becomes inflesh, an inorganic redefinition. The purveyor of inflesh of all kinds, as an inflection, of livid and brilliant hues: greens, eerie pale or saturate red and shocking yellows, sepulchral titanium whites and ritually primitive lines. The excessories of my sculptures, steel and fiberglass erection, conjure unlikely anatomies  and  intelligent devices, as prosthesis of actual humankind.  

My artistic approach and acclaim the spectacular extremes of bodily manipulation by new technologies, the deconstruction of corporality and evaporation of the body into virtual, moving towards to a new aesthetics, butchering of the ideal body as a gift from nature. These departures first liberated the body from societal codification, aesthetics delimitation and the “prison of Godlike embodiment”. 

 At the end, I could not ever forget the Fidias’ ideal of the body monumentality – an intellectual intercourse between Antiquity and nowadays Western civilisation.  




Dictated by its finality and its expression (a working process), the origins of movements and forms I did not conceive them totally beforehand, but by experimenting them physically. What is experimenting, “trying”? Arrive at a coordinating point such that the energy goes through naturally. These are flows of motion rather than shapes and figures. By “trying” a sequence of movements and verifying that the energy passes, I find myself in front of multiple possibilities of other movements (abstractions). Then I “try” again and choose, and so on, creating a flow of energy. (Gill) 

This flow builds the body movements by transforming every conscious sense into an abstraction emerging from the unconscious of the body, from the communication and osmosis between unconscious. When it comes to the body movement, its choreo/ graphy "ecriture au corps" becomes abstraction and translates the embodied meanings into intensive paths, while evolving them in motion and acting through the passage of energy. 



The primitive human has been tried to understand without the need for conscious reasoning what the contemporary human been is trying to understand through rational knowledge. (Wundt)  

At the crossroads of a long-term conflicting body story, borrowing from prehistoric cultures, I have discovered new, pared-down primary expression. The primitive markings and proto archaic signs depict spiritual themes and hark back to the origins of humanity. Marked on my own raw sculptures (see LOEMIJ), in order to induce the effects of power, I have particularly emphasized nonverbal primitive rituals engaging the magic of drawing (Tylor), anthropomorphic symbols and the magic of dance (Richard). 


Paper & book publication in Europe about Towards a New aesthetics or graduate research at University of Montreal including an urban intervention in Lower Manhattan, New York;


ARCHAIC Inspired by the prehistory of Transylvania (my home country), Neolithic culture between the 6th and the 3rd millennium BC. Fine Art Faculty of Timisoara`s studies and projects