The first stage, inheriting Project’s name, stated trenchantly the premise: Homage to Helplessness. Attention was focussed upon two major elements: a formal one and a conceptual one.

I have formally taken out the character from his environment. Using clipping technique, I succeeded to gut the figure / the man from his relationship with the contextual panel. Deprived of a multiple relationship, the upholder is concentrated exclusively upon his fellowman. The clippings cut the man – the subject of painting – out of any fluctuant exterior determination. This separation generates THE STABLE TRACES.

At conceptual level, the recipient man (the receiver) faces the trace man (the carcass to be segmented). The process of segmentation is a consequence; the borderline between “to live” and “to exist” is attentively re-drawn in order to discover the type of introspection, the reflecting capacity and the spiritual retrieval. The families of STABLE TRACES are in reverse mirror with their generators. The upholder stands for an indicator of the world he belongs to; he is inhaled by an environment infested with thin-and-volatile substitute stimuli able to diminish daily his relationship with the consistent spiritual self. Becoming is no longer achieved through observation, meditation, analysis and synthesis, but at superficial level.

Trying to induce the geometrical locus of the deep memory, upholder’s relationship with the STABLE TRACE hyper-sensitizes. 

The exhibition was displayed at Artexpo Galleries, National Theatre – 3rd/4th floor, Bucharest, Romania.