In the portraits (Nicolae Balcescu) or statues (Ion Andreescu, Buzau; Stephen the Great, in front of the Culture House from Suceava), the sculptor presents a very personal way to understand the expression of the spirit trough the materials he resorts to. The volumes found in an expansion that, at a certain point, could destroy their unity, are subjected to some compositional rigors, to some principles of spatial organization, meant to maintain them in a figurative assembly of great expressiveness. A particular sense of the essential leads him to a type of equilibrium between the vital tensions and the ascetic form, which results in an "optimization" of the spatial structures. The vehement expression is consumed at the same level as the need to place the entire representation material in a definite order. An additional testimony of the emotion’s intensity and of the effort towards logical construction brings forth the works from the Maternity cycle. His works are distinguishable through the drama that they imprint into the composition, through the surprise of the spatial musical sheet.
Constantin Prut (2014)
Dicționar de artă modernă și contemporană, ediție în curs de apariție la Editura Polirom, Iași, 2015