Lamono#76, 2011

You play the most varied disciplines: from photography to performance and installations or conceptual writing. Do you think it is important that, today, the young artist is versatile?

Of course there are no rules and standards regarding the versatility of one artist, but I generally think that freeing myself of a specific medium, in other words remaining free, suits best my practice. I was never afraid of approaching territories that can articulate my metier in a valid way, not to say of the constant searching for the best way to say it. Therefore it’s a matter of what one questions conceptually speaking. My work has no other option being anchored in a processual research; it offers no escape but to mediate different practices, that I consider fit for one proposal or the other. But, never forget that sometimes definitions like performance or installation prove to be weak and unsatisfactory vis-à-vis a conceptual discourse.

You’ve researched and worked on projects where looking connections between artistic expression and the nature of the human body, almost as if an art-biological question. Why are you interested in the connection between these areas?

It’s true that my performance based work looks within these fields. As it is expected, I am after all interested in expression. There is this notion that one thinks with his brain and express what he thinks with his body, so this corporeal machine has many implications when thrown into art. What interests me more is the capacity of an action to put a mass in movement, to silence, or balance fields of power. What are the conditions that an idea has to satisfy to become physically potent?

Do you consider yourself a scientist-artist?

I wouldn't call myself like that; still science as I see it makes a brilliant capital in my work. There are many things to be discussed here, especially because I consider art as thinking, one that make use of concepts like time, action for instance which have been massively debated and documented by philosophers and scientists.

In your work exhibition is a clear gesture obsession to intervention and modeling facial expression. Why?

You may say that in regards to some previous works that are centered on the portrait. It is a different issue that distance itself, for example from Arnulf Rainer’s compulsive obsession with the expressive body. My intention back then was not to put forward a psychotic self, or to over express it; but to indicate a sort of masochistic desire to disappear, to manipulate the fragility of the skin, to show its estrangement and disillusion with both the inside and the outside. This desire dates a long way back, and I think it is one of the pillars that holds the scaffold of what my work is all about.

What is for you “body”?

Most importantly the body is a powerful medium, maybe the most difficult to work with. But nevertheless is a medium for communication. Having said that, I truly take it as a social construct that needs mediation. It is not a choice, but a fact and therefore it has language embedded in its molecules. It is therefore inescapably a mass that needs to be negotiated, every millisecond.

How important would you consider the body to express themselves artistically?

The body never looses its flagrant expression and outspoken desire to manipulate and be manipulated.

In your work is appreciated in some connection with performing work by artists such as Marina Abramovic or Anika Larsson. What artists, genres or artistic tendencies you feel more sympathetic?

It’s always hard to pinpoint references that mark my work. Writing may be a strong and constant marker, therefore it’s more a problematic of language than of let’s say fine art. Nevertheless I feel close to some approaches in art but not necessarily to specific artists, even if I made sometimes direct reference to W. H. Auden or Mickey Rourke.

Nudity and naked bodies are plentiful in your work. To what extent you are interested in erotic art to incorporate into your work?

I think the problem of eroticism in my work is a false problem. If there is an order in the layers of my works nakedness resides at the periphery. I would explain it as a nuance.

Do you feel sympathetic to provocative performers and artists who use sex as a weapon and fetish artists such as Bruce LaBruce, Larry Clark, Jonathan Meese and Joan Morey?

Over the years I have meet and exhibited with some artists mentioned above, but I wouldn’t say I feel sympathetic towards their practice.

Do you consider yourself an artist provocateur?

Better said, an artist that likes being provoked by reality.

In your recent exhibition “Critique on How Temples Move Faster Than Their Shadows” was appreciated a taste for chaos and disorder. What is it that strikes you about this?

That solo show came painstakingly slow and quick at the same time. Why? Slow, because there were lots of philosophical edges to it, many fractured ideas that stayed with me for some time, and needed a formulation, and quick, because the opportunity to articulate and produce a show came as an ardent deadline. This incredible force to stage a massive event was maybe a clear balance between the two.

Do you plant in the near future to jump into genres such as drama (theater) or cinema or a longer format or still prefer the video installation and performance short to work?

There is always a question of the format and medium as I already pointed in a previous statement, so what I want is to detach from any medium confinements and rebuild them; what matters is to remain free.

Do you consider your work please provide good information sciences such as sociology?

I have studied Theory of Communication and Systems Theory by Jürgen Habermas, Niklas Luhmann, and Humberto Maturana since 2002 and extensivelly introduced them into my projects as well as Alfred Gell’s anthropological theory of art and theory among others.

Do you think a conceptual artist like you should educate people with their artistic practices?

I never think of educating people really. Maybe art is not destined to educate or to give answers but to propel the possible and ask.

With what concepts you want people to associate you to see your work?

The public should remember that my work is artificial, culturfactured - a construct, and that it is my construct and should be seen as such with directness and ruff poetics, as art in its form signifies nothing but representation of heterogeneous time.

To what extent a country like Romania influenced your artwork? Maybe that’s why you find more shelter in Central Europe?

To be honest Romania has only given me the place of my birth. It’s almost impossible to project more besides, and don’t even want to. It may seem strange saying it so drastically but it is nevertheless true even if I spend most of the time in it.