My artistic aim is to combine elements from all the fields of human activity and to find a zone of balance – fragile as it may be – between experiment and tradition, for I consider that nothing truly durable can be built if one denies the primordial status of art: that of being the synthesis of the tastes, customs and values of a particular historical interval. I like precision, but do not, however, reject the accidental; I work with the “plasma” of concepts, also using the images of certain personalities from the arts, literature, music, politics, sports etc. (which I “invest” with the function of “key-vehicles” of past or recent history), I juxtapose, and then translate them into different techniques (painting, collage, photography, serigraphy, drawing). Furthermore, I realize surfaces alluding to traditional weaving techniques, as well as installations and what I have called “genetically modified ready-mades” – which are sculpture-like structures (for instance, my “gun-guitars”, or "seesaw-weapon": objects that are ironically situated at the border between formal representation and the machines that Leonardo da Vinci conceived centuries ago); I use objects, posters, photographs, telephone books, envelopes, newspapers and others, that I juxtapose as innovatively as possible and afterwards rework with editing programs, so as to obtain the highest and most intense colour- and shape-effect. I draw in order to communicate visually with different artists – especially with Dan Perjovschi, with whom I have already made two drawing books, that we had been sending to each other by mail; the result was a kind of “hybrid” between mail-art, letters, novel and diary – the idea of “hyper-journal”, or archive, being, as a matter of fact, the constant trademark, or the central axis, of my work –; parts of one of these drawing books were already published in 2011.