The sculptural work of Borgo-Prund assimilates in an organic and original way, a series of modelling influences from the cultural and artistic design area of inter-war Transylvania. The whole generation of modernist sculptors from Transylvania, starting from Iosif Fekete, Iosif Bene, to Romul Ladea or Kós András, value the multiple possibilities of wood sculpture. A good stylization of formal means can be observed at Borogo-Prund, out of a symbolic exercise learnt from Paciurea and Mederea, and which he will transpose in the concurrently baroque, expressionist, highly decorative exaggerations, and with subtle primitive references of his work.
(Prundul Bârgăului, 1900 – United States of America, 1982)
1923 - 1928 – Beautiful Arts Academy, with Dimitrie Paciurea, Bucharest.
Alongside Carol Pleşa, he is part of Corneliu Medea’s team for Romania’s Pavilion decoration within the Paris(1937) and New York(1939/1940) International Exhibitions.
1937, „Mozart” Hall, Bucharest;
1938, Dalles Foundation, Bucharest.
1934 - The Oficial Salon, Bucharest;
1937 – The International Exhibition in Paris, France;
1940 – The Milano Triennial, Italy;
1941 - Cluj (alongside Carol Pleşa).
1932 - 1933 – Man with hat (wood);
1932 - 1933 – Descent from the cross (relief, wood);
1937 - Maternity (wood);
- Two Nudes (wood);
- Pietà (varnished wood);
- Lady dancer (wood), National Art Museum of Romania;
- Totem, col. Gheorghe and Medi Dinu.
Vida, Gheorghe, Sculptor’s Dictionary of Romania, XIX-XX centuries, Vol. I., Bucharest, 2011.
“The Art and the Individual, monthly magazine for art spreading, dir. Aug. Clonda, editor Borgo Prund, 1933.
Constantin, Paul, Borgo-Prund, în: „The Art”, nr. 9, 1971.
Matei, Matei, Sculptures by Borgo-Prund newly aquired, in: „The Annually of the Art Museum of RSR ”, Bucharest, 1983.
Radu, Vasile, Borgo-Prund, http://www.artexpert.ro/blog/articol/borgo-prund, october 2012.