I am a Bucharest-based visual artist doing her best to productively engage with objects and our perception of objects by media and methods of all sorts.
My toolkit is diverse and (even) opportunistic. I devise installations, make objects, mix paint and printing, as well as create visuals by alternative photographic techniques. Generally, my practical toolkit uses the aesthetics of scientific imagery (visual classification schemes, (altered) macro photography), and other scientific research tools which can be converted as artistic practices.
All these methods are unified by a simple and general idea: the visual identity of an object is a continuous process, not a static given. Several global and local questions emerge. First, how is it that objects acquire their visual identity? Is it just a social process, which begins in scientific labs and ends, via schooling, in textbooks, atlases and various other visual classification schemes? If this is so, then a visual classification it carves up the world into objects, while teaching us that the objects are real. This way, the idea of a classification (and thus the very identity of an object) is inherently visual. Classifying and identifying types of objects is not a conceptual ability, but rather an acquired visual discourse. Second, how passive or active are we to objects’ visual identities? Are they fixed within a culture, or more up for grabs? If we visually acquire the identities of objects through education, it seems that there is little we can do to change them. However, new objects are constantly invented. Science keeps on devising new artefacts, new materials and new technologies, not to mention all visual objects depicted in fictional arts. And we seem to be able to prescribe their identity without too much struggle, even if we have little or no visual familiarity with them, no real habit of interacting with them. Is our visual imagination filling this gap? Then how can imagination, visual sensations and common knowledge bundle up to create visual identities of new objects?
In my work, I investigate ways of deconstructing and reconstructing all these layers of visual meaning. I am keen on blurring boundaries - between reality and fiction, between natural and artificial, between part and whole. I create fake biological functional organs by using artificial organic matter in order to (re)create the feeling of visual similarity. I devise a real, living [mini ecosystem] by using a culture of Kombucha which is growing and self-altering —working as a visual simulacrum of an organic process. I explore the way we can decipher signs/shapes by analogy and the way reproduction and recontextualization can redefine meaning or individuality of images.