Oradea, Romania. Index 30 Exhibition, november-december. 2025
SET THE TABLE. LEAVE a TRACE.
The work focusses on a single filmed gesture: I wipe my lips and lower the napkin. On the cloth, the viewer discovers an embroidered mouth — already distorted and pulled upward by a thread stitched into the fabric. The deformation is not the result of the gesture, but its pre-existing trace: a sign prepared, staged, and made visible only through contact.
Alongside the 4K video, the installation includes the original embroidered napkin shown in the film and the reference photograph taken in a Paris restaurant. Together, they create a small constellation of objects in which touch, artifice, and memory remain suspended on the surface of a simple table linen.
Timisoara, Romania. Opening Show, oct. 2025
WHAT IS UNDER THE CARPET REGARDS YOU.The work proposes an oversized rug placed in the middle of Unirii Square a domestic object, associated with private space, inserted into an open public setting.
Using subtle irony and the gesture of amplification, the intervention becomes a visual commentary on what we choose to hide and on the tensions between the visible and the latent.
An object of passage and erasure of traces, the rug has an apparently humble function, that of silent filtration between the exterior and the interior. In this work, it lose its utilitarian role and becomes a surface of reflection and confrontation. For me, the threshold is not just a boundary to be crossed, but a surface for negotiation between oneself and the other, between intimacy and exposure. Placed where it should not be, the rug brings to light the ambiguity of hospitality, but also the fragility of shared space. The text "What is under the carpet regards you." does not offer an affirmation, but a gesture of activation. Art, in this sense, does not signal, but opens: a temporary window between what we know, what we recognize,and what we refuse to see and understand.lassic touched generations and continues to be instantly recognizable.
Budapest, Hungary. 2021
SNAPSHOTS OF A SPACEA video installation where monitors hidden in plinths present films shot with a thermal camera. Fragments of daily routine become visible through images normally inaccessible to the human eye. The work transforms the everyday into a latent register of bodily memory.
Cologne, Germany. 2024
WILLKOMMENAn ordinary doormat, covered by a three-meter textile disc, was unveiled through an industrial hoist. The gesture ironizes official inaugurations and turns the domestic threshold into a monumental sign of reception. Between play and solemnity, the work marks the tension between intimacy and public space.
Oradea, Romania. 2024
THE MEMORY OF A WHOLEA slice of a 160-year-old plane tree, felled to make room for a fence, was transformed into a communal table. Supported by curved metal legs that also serve as seats, the work invites encounter and dialogue. Beneath a cherry tree, the memory of loss intertwines with the idea of regeneration.
Budapest, Hungary. 2025
THE PATIENCE OF THE COSMOSA silkscreen printed with golden pigments fixes the traces of birds left in the snow. The gesture transforms the fragility of an ephemeral presence into visual permanence. The footprints become constellations, and the fleeting passage of birds turns into cosmic patience.
Cluj, Romania. 2024
WELCOMEBack to the FuturA doormat inscribed with “welcome” was placed successively in front of institutions and private spaces: the City Hall, the German Cultural Institute, a bank, a private house. The seemingly banal gesture activates the space and raises questions about the boundary between hospitality and exclusion. The domestic object becomes an interface between public and private, access and control.e will live forever in the minds of fans everywhere. The Hollywood classic touched generations and continues to be instantly recognizable.
Balmazújváros, Hungary. 2017
PANORAMA FROM CLUJA framed digital image on the wall fixes the sound of a political march in visual form. In front of it, three headphones play the same recording, each with a different filter. The short cables force three visitors to listen simultaneously, turning them into a disciplined group – a mirror of the march itself.
Oradea, Romania. 2012
19,60 meter in 16,5 secondsA framed digital image on the wall fixes the sound of a political march in visual form. In front of it, three headphones play the same recording, each with a different filter. The short cables force three visitors to listen simultaneously, turning them into a disciplined group – a mirror of the march itself.
