L’intime à l’œuvre — La peau des 100 odeurs
Presses Académiques Francophones, 2011
This research explores how identity takes shape through sensorial memory — particularly through olfaction — and how it weaves itself into artistic creation. Grounded in the idea of intimacy as a shifting space between self and world, the book asks: Can every work of art be read as a form of autofiction — a fusion of autobiography and fiction?
Rooted in autofiction theory, the thesis views the artwork as a vessel for intimate truths and a resonance space for shared human experience. Drawing on examples from contemporary visual art, it speaks to those curious about the entanglements of identity, memory, and creation — and the subtle ways they move between resistance and adaptation.
A Cowboy´s Work Is Never Done
Heliumcowboy Artspace Publication – Hamburg, 2006
This early body of work marked my first exhibition outside Romania (2004). The installation titled Dreamax consisted of ten large-format paintings—pop-inflected, text-laced, and deliberately ambivalent. Drawing on the aesthetics of pin-up culture and advertising, the works staged a visual diary that both inhabited and dismantled familiar codes of femininity. I used my own image as a point of rupture: a figure stepping out of the painted surface into the space, blurring the boundary between representation and presence. The result was a staged dissonance—between gloss and conflict, surface and depth, irony and vulnerability.
🔗 Dreamax exhibition – 2004