Drawing and painting have accompanied me since childhood. At the age of three, I joined my local school art club, and for years I carried a sketchbook with me, drawing constantly and studying the human body. Anatomy became an early fascination, while colour developed into an instinctive language of expression.

Around the age of eight, I began collecting and pressing plants for my own herbarium. That impulse to observe, collect and preserve still runs through my work today. From the age of thirteen, I attended an art high school in Bucharest, where I specialised in traditional printmaking techniques including lithography, etching and aquatint. My visual practice moves across drawing, painting and photography, and in recent years has expanded further into cyanotype, whose deep blues resonate with a palette I have long returned to in my painting.

Installation is equally central to my practice. I often work with the space itself, using light, sound and the placement of objects to shape how a work is experienced. Increasingly, these visual and spatial elements intersect with my olfactory practice, bringing image, colour, material, scent and sound together as different ways of exploring memory, perception, the body and place.

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Living Archives of Hay

Living Archives of Hay began in the hayfields of Transylvania, where I return in the summers to photograph and document the plants that make up the hay and carry its scent. Some are becoming rare or disappearing; others remain part of this changing landscape.

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I turn these photographs into cyanotypes, drawing on the process’s historical connection to botanical study and the work of Anna Atkins, a nineteenth-century English botanist and pioneering photographer who used the technique to document botanical specimens. The series becomes a record of a landscape tied to my earliest olfactory memories.

These six prints are part of an archive that continues to grow.

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The Senses

The Senses is a group of linocuts made in 2020, each printed onto a page taken from a German dictionary. The titles cross one sense into another, exploring how perception is shaped through the interplay of different senses. The print sits over the dictionary definitions, so image and language share a single surface.