Installation (screen saver on display, sound, 3D printed objects) variable dimensions, 2019
Category: WORKS
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Gyújts világot, fiam!
ready made + (old theatre light, IR light bulb, black wire, red tape, print) 2026
Throughout history, resources have often been a reason of conflict between countries and nations. Whoever controls resource-rich territories holds the power and control. Today, the global economy is more interconnected than ever, and resources are part of a complex global network.
Like any other object, the theatre light is also part of the cycle of the global economy. It was produced to put a light on something, as the power puting the light on the convenient.
The open reflector, through its shape, alludes to the cross-section and internal structure of the globe. The lightbulb, in turn, consumes energy.
The electrical wire is the conduit for this energy, but also a symbolic cord between us and the planet – a cord of morality and responsibility, long and tangled.
The phrase written in the thread Gyújts világot, fiam! (spoken by the film director Béla Tarr at the end of an interview) is an exhortation addressed to the next generation, with a dual and contradictory meaning: on the one hand, to kindle the light of change toward a more conscious, responsible, and equitable world; and on the other, to set the world on fire.
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The Stairway’s Ecosystem
Assemblage (print on paper, plant cell images on digital photo frame, optical fiber lamp, metal grid) 100x60x20 cm, 2016
Photo series, 2006
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Dispelling Illusions
video, b&w, sound, 6:24 min, 2022/2025
Illusion has two sides. That visual phenomenon where perception is tricked by form, light, and perspective: what we see is not always what is there. The illusions of our own thinking: assumptions, expectations, and narratives shaping how we interpret reality. While optical illusions reveal the limits of our eyes, illusory thinking exposes the possible scenarios of our mind.
This duality emerged from a very ordinary context. As construction and home renovations have expanded widely in Romania since the 2000s, many homeowners have experienced a similar disappointment: work done quickly, superficially, or carelessly by craftsmen. What initially looks finished and convincing often hides fragile execution underneath. The illusion of quality collapses once the surface is questioned.This one-shot video documents a simple act: removing ceramic tiles that had been installed hastily by workers. As the tiles come off, the hidden structure becomes visible. What first appeared solid reveals gaps, shortcuts, and inconsistencies. The gesture becomes both literal and symbolic, an attempt to peel away the surface and expose the distance between appearance and reality.
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The Missing Poem
mixed media installation (table, wood burning pen, video, sound) variable dimensions, 2015
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The Changing (not thinking (anymore))
neon sign, variable dimensions, 2015
Sometimes I think, sometimes I am.
— Paul Valéry on Descartes’ famous statement I think, therefore I am, as human existence is not defined only by thinking. Sometimes we think, and sometimes we simply are.
kinema ikon - serial, Art Museum, Arad
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White
photography, variable dimensions, 2008 – ongoing
When just looking for traces in winter…
-5 C, 2012
Passengers, 2008
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Fata Morgana
HD video, 11:00 min, 2012
For those who have not undergone compulsory military service, this landscape may seem as if taken from a video game; for those who have, it was a lived reality.
The suspended camera becomes a foreign body within the landscape, oscillating between control and loss. Its nearly uncontrollable movement suggests an uncertain gaze, as if the space itself resists any attempt to be fixed or understood. Certain angles evoke a state between reality and illusion, where the memory of the place has eroded into ambiguity.
Within this setting, a phantom-like entity appears intermittently, its mirror in place of a head reflecting the surroundings and, implicitly, the viewer. Its presence, both relic and projection of the site’s memory, functions as an opaque witness.The title refers to the optical phenomenon of a mirage, an illusion that distorts reality and makes it appear as something other than what it is.
In this sense, the work explores the idea that an inaccessible past inevitably becomes a speculative construct, a sequence of reflections and distortions.
The video does not tell the story of the base; instead, it constructs an atmosphere in which absence becomes the protagonist. Between fragments of space, unstable movements, and fleeting appearances, Fata Morgana invites the viewer to navigate their own perception, confronting the boundary between what is seen and what is imagined.
co-authors Huba Antal & Levente Kozma
sound Szilárd Szőkepart of the Waiting Spaces project
making of, photo Anca Gyemant
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Pe vremea noastră era altfel… (In our time, it was different…)
neon sign, 460×50 cm, 2013
The phrase belongs to no one and belongs to everyone; it has been spoken at tables, on train stations and in marketplaces, uttered with an unmistakable blend of gentle reproach and resignation.
Placed on the façade of a building steeped in history, it ceases to be a private sigh and becomes a public declaration, almost involuntary.
Neon letters reclaimed from the visual vocabulary of the ‘80s, from the advertisements that lit up cities where everything else was dark. That neon didn’t merely decorate, but announced. Now it announces once more – not a product, not a service, but a collective feeling without an author or a date.
What makes this phrase irrefutable in conversation also makes it on the wall. It doesn’t claim that things were better. It simply says that they were different.
It’s a retreat from any debate. Impossible to refute, impossible to fully confirm.
Nostalgia acts as a shield, not as an argument, and that is precisely why it cuts deeper than any argument.
The building is not a neutral medium, it is a co-author of the work. The building and the current advertisement on it simultaneously contradict and confirm the illuminated phrase above.
The passerby who stops sees two overlapping moments: the one from which the light comes and the one in which he now stands, looking.
The work does not take a stance; it merely places a phrase where it already existed, unwritten.Made in the frame of the Waiting Spaces project, manufactured by Mr Bebe.
Hosted voluntarily by a friend’s parents on their balcony for two weeks in Piața Mărăști, Timișoara.
The piece was displayed three more times in Timișoara: on the balcony of a public institution (as part of the Annual architecture event, 2014), in front of a former industrial building transformed into a cultural venue (Ambasada, 2016), and on the façade of the Memorial of the Revolution of 1989 (as part of the exhibition Mad(e) in Romania), from where it disappeared…
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Attempt to Immortality (after Paik)
mixed media installation (surveillance camera, tv monitor, taxidermized marmot, pedestal) 100x40x50 cm, 2018
Commissioned by kinema ikon for MAFA5 – De Rerum Natura
