Dany Madlen Zarnescu
The ancient philosophers from Greece thought that the fundamental colours are black, white, yellow and red. I know only a major Romanian artist who explored almost all the amazing potential of black, Dany Madlen Zărnescu, from Bacău (born in 1950 in Vama, Bucovina), the city of one of the classics of the Romanian poetry, George Bacovia. He wrote a poem, ‘’Black’’, which always reminds me the cutting edge lifelong works of Dany Madlen, a very discreet and delicate artist: ‘’Charred flowers, a mass of black …/Black coffins, burnt, of metal,/Funeral garments of charcoal,/Deep black, a mass of black …//Dream-sparks flickering … a mass of black;/Charred, love was smoldering -/Scent of burnt feathers, and it was raining …/Black, only a mass of black …’’
In her last years Dany Madlen Zărnescu fell in love with a traditional female piece of clothing from Bucovina, the so called ‘’catrinţa’’ (a beautiful rectangular homespun skirt). She began to collect such old pieces, with the strong desire of focusing the attention of the art lovers more on the artistic achievement incorporated into them, than on the utility purposes. With some small changes, only when she felt it was necessary, like adding some acryl colours, cutting some parts and adding others, these treasures made by anonymous women from the Bucovina villages have been framed and exhibited successfully, following the avant-garde tradition of Marcel Duchamp’s ready-made objects or the found objects of Dada movement, Fluxus, Pop Art, etc.
Now the readers of Levure littéraire may admire the cosmic beauty of these masterpieces made from woven textures, so refined and soberly coloured, a memento of the primordial history of Bucovina and Romania. In my opinion, there are very few contemporary abstract artists who succeed to create such impressive works, unique compositions where the subtle lines and the colours emanate a music at the level of Bach.
Harmony with Violet
ABOUT Dany-Madlen Zarnescu
Dany Madlen Zarnescu continues exploring the expressive qualities of a chromatically homogeneous pictorial materiality, semantically and sensorially invested with the qualities of the shadow, in which the substantiality of the pigment and the texture of the support play a very important role. This maximum sobriety of the discourse, highly rich in nuances of pictorial effect and poetic suggestivity of the range of black hues, has ensured her a special place in the contemporary Romanian painting. The option for dark shades – cold black hues, in which intrusions of blue make their way, justified by the compositional intentionality of some apparent minimalism – confesses a discrete reference to light and shadow, transparence and density and significant latent potential of the opacity which absorbs the light. The warm blacks, overlapped or absorbed within the mass of some rough materiality or pragmatically rendered support, calling for repetitive rhythm, sometimes absorbed in these supports selected for their materiality already discursive in itself, revive speculation on the relationship between surface and space/volume, between bi and tridimensionality.
In these quests, almost total monochromy excludes the narrativity of traditional European solutions, of perspectives built on value or caloric contrasts or of illusionist geometrical schemes. Approached in this way, like a material concentration of shadow or some existent reality behind whose surface the look/ tactility reluctantly ventures, the tridimensional space stands as an absolute, inner feature of the matter. Without the rhetoric of semantic perspective changes, typical of the modern debates on the condition of painting, Dany Zarnescu proposes an interpretation of the nature of space, not as containing condensed matter in inert or dynamic shapes, but, rather, as the content of some matter that manages, includes and develops it, ranging, in terms of dimension and processes, in variants whose rationality belongs to the matter itself. Varying according to the support of the painting, sometimes raw vegetals like fibres, some other times, as it is the case of the current exhibition, traditionally woven textile support, or processed using paper techniques, her creations transcend the condition of images, being much too dependent, semantically, on their material condition, still not claiming the status of objects. The chromatic discourse enriches itself or closes in monochromy (black in black), and the chromatic substance, then organizes itself abundantly or merely points to the flashing of a gesture, an intervention, on the support.
Alexandra Titu, Perspectives, the visual culture and art critics’ magazine, no 5/ December 6, 2010, Timisoara
With both the painter’s and the graphics artist’s means, Dany Madlen Zarnescu develops a rhetoric of the surfaces that obviously belongs to her own vision. First and foremost, she reduces the rustling and the colours of the present. The dark that is thus generated – the paper, in general the materials that are worked upon, belong, as a rule, to the black pole of the spectrum – points to this absence, this coming out of the immediate present, to allow communication between the most intimate tensions. Since black – the absence – imposes itself as a condition of transmitting the artistic message, in the atmosphere of the painting there appear the signs of some formal solutions (successive layers, continuities and ruptures of grounds) and chromatic as well (a nostalgia of the blue, with red shades). The new equation, of shapes and colours, can transpass the strictly material circumstances and evolve towards a conceptual organization (a cross, etc), that deeply modifies the aim of the image.
Constantin Prut – Contemporary Syntheses – Romanian Art, Brumar Publishing House, Timisoara 2011
Dany- Madlen Zarnescu and the mystery of the germinative black
For quite a few years, Dany-Madlen Zarnescu has been producing image-objects of secret beauty, full of mystery, like some involute flowers that sometimes discretely reveal a flame-like core. At other times she arranges geometrical shapes (squares, rhombuses), marked by axes which configure the cross. Everything is of sovereign simplicity and austerity. It is the form of ascesis which the artist assumes, trying to reach maximum of expression and meaning with a remarkable economy of means.
The ascesis of shapes is doubled by the the ascesis of colours. The artist uses the poetical suggestion power of the black (Dany uses black as a colour), investing it with infinite expressive and semantic potentiality.
It is known that within the Oriental tradition black is not an absence or a denial of the existence, but rather the medium that virtually contains reality, the germinative space giving birth to shapes and colours in a potentiality state. From the black of the ground, vitality and overwhelming burst into vegetation and life.
But with Dany-Madlen Zarnescu, black not only signifies the organic, the vital as a potential, the artist merges it with geometry, revealing its conceptual and spiritual values. Black in geometrical shapes becomes an ordinating force, the force of the intellect, of the Nous, that guides the search for the meaning of the world.
The artist’s nocturnal black acquires spiritual value. In a percussive observation regarding the theme of the “dense shadow” from Dany Zarnescu’s latest works, Alexandra Titu speaks about “the sacralization of the dark mass through the discretely consistent, but authoritarian presence of the crosses.”
On the significance of the cross, G.C.Jung inspiredly wrote: “The Cross-Lord brings everything together and unites it”. The either discrete or evident presence of the cross in the artist’s images creates a sacrificial meaning. In the recent series of works, “The Monastery Garden”, the “dense shadow” of the support sustains the wondering floating of the vegetal, the new theme of sacralized nature in the artist’s work. In Dany Zarnescu’s art, pre-formal black meets geometry, giving birth to a meaningful form, form carrying spirituality. The series of works in which the artist uses folk weaving with black stripes, bringing rhythm within a space of great purity, marked by the artist’s subtle interventions, stands proof of these.
Dany-Madlen Zarnescu – an artist who brings a new, significant dimension to the Romanian contemporary art.
About the use of fire and water, of light and darkness
Dany Zarnescu overlaps supports similar in terms of texture and intensity. Otherwise, the achromatism of the black irisates endless qualities of green, red and blue. They are a kind of chromatic melismas in a well-balanced elaboration. The supports – paper – torn, ripped and glued, come together following ever vertical, internal trajectories.
The chromatic accent, sometimes apparent, creates surprising symmetry, making credible object to some free narration, with plenty of words organised in collages, quietly waiting to be spoken. Supreme refinement, Dany Zarnescu finds herself outside the spectrum, somewhere on the edge of the universe in full expansion, capturing with black mirrors the wandering colours. I see the making of these works within a dubitative sentence about existence and the qualities of colours in the black medium.
Iulian Bucur – Ateneu magazine, 2005
Dany –Madlen Zarnescu and the process of introspection in art
In the elaboration of Dany-Madlen Zarnescu’s creation, a Romanian Moldavia-born artist, one can uncover personal meanings, individualised traits, which define this Romanian painter as an independent artist, as a person who uses the disparate and diverse circumstances of the context, in space and time, pregnantly defined conceptually and affectively. This is what makes this difference a prolific one, emphasizing a personal style that uses mutatis mutandis, such as the figures of speech in the literary art, appealing to gestic features, concepts and precepts. Her vision over the cosmos, over lacrimae rerum, is approached in a personal manner through a clear introspective process of perceiving reality in chiaroscuro or lichtung; through clarification offered by the creative talent, to seize the differentiating moments in the reproduction of the abstracting message, orienting the work towards a dreamed-of line. This is conceived through the definite style which the Romanian artist imposes in creating the work, like a strong amalgam to communicate gestically the abstract of the things to be. This is what renders force to the work of the painter Zarnescu: a particular dynamism generating a personal interior rhythm, making plausible a personal pictorial abstraction inside an open fan, which could be named ‘functional transmission’. This transmission process is attached totalizing counterpositions, as the Romanian artist from Moldavia deliberately leads the receiver-viewer towards enjoying abstract art, aware of the fact that the work of art should be perceived as the artist conceived and felt it in the act of creation. Then, the perceptive moment of the receiver (J. Stolnitz) remains subjugated to the charm of the work and viewing is intensified in a complex manner, materializing in an allegorical, almost epiphany-like gestural recreation. The message of the moments lived introspectively by the painter Zarnescu appears like a dispersed gestural complicity, grounded on basic concepts, rapid thoughts in which it is evident the creator’s desire, such as in the anxiety of the influence (Harold Bloom), to come across ways either lost or off the beaten track, feelings and pulsations which cannot be constrained and which could appear with any Artist, in the purest meaning of the thought, be it in a sudden manner or like “impromptu”. The idea of quiet space, resembling that of ut pictura poesis of Simonides de Ceus, appears with the Romanian painter either as some sort of saga – escape from the mundane and from the temporal, or as running away from the deafening of the daily existence and routine, in order to reach dreams and utopias in abstract art, which she constructs from the intimacy, from the essence of her inner-self, of a Romanian Moldavian woman. The gestural and technical result is transposed into successful communication and this is the essence of any artistic act, that the message, art, should reach the receiver-contemplator (Stolnitz). Zarnescu manages to do this through her introspective, abstract art. And no receiver-contemplator stays indifferent in front of this Romanian painter’s work. They are linked to it through viewing, thus indulging in it and becoming rich as if revealing the introspective act of creation of this complete Artist.
Francisco Arroyo Ceballos – “Critical Articles on Art”, Cordoba Libros, 2010, Spain (Translation from Portuguese by Anca Milu-Vaidesegan)
Black as beginning and end
Dany Zarnescu’s collages start from black and come back to it. Each composition, framed in itself, geometrized up to the essential, allows the look to go deep into its interiority through a rupture in the middle of the surface; through a slit, on the contrary, it allows light, with all its attributes, to penetrate towards the viewer. In her own language, with an original expression, a contemporary artist constantly tries to render, graphically, a glimpse of the mystery of Genesis.
The poetics of the black
Her compositions have a unique beauty, mysterious and imponderable. The way in which black is made to germinate shapes is miraculous. These shapes evoke a whole range of floating states (Flight, The Wing, Dream, Bird) or of the muted sonorousness of the light (Dusk; Nocturne, Nightfall). The artist reproduces, in her works of refined decoration, the velvety alchemy of the night. Black is treated like a waving of shapes in continuous genesis, with a poetics of articulations which is rich in nuances, observing the most difficult painting techniques, that of ‘the tone within the tone’. This is only the privilege of the great inquiring spirits that locally have created virtuosi such as Ciucurencu, Cilievici, Secrieriu, Mihai Horea, Sevastre, Mitroi, Lucaci…This artist’s merit and originality is her consistency in developing, for many years, the aesthetic concept into style. Even more spectacular are the touches of red, blue, gold, the intrusions of white in these orgiastic wavings of black, in ranges of tones that provide a delicate harmony of nuances. Each time, out of these penetrates the victorious pulsation of a shape, which seems to be born just in front of our eyes. A symphony of the black that points to an exultation of forever reviving life!
Corneliu Antim – the Sunday Paper, September 2005
“The series of collages with precious blacks, make up a surface of expressive patches, with crashed, burnt edges, allowing a precious steam, primary colours or metallised materials towards the centre.
The sensation is of medieval embroidery, of preciousness of the material, with muted sonorities and unique music. The artist, forever inquiring, patiently constructs, from one exhibition to another, enchanting us with new uncoverings. Everything is peacefully, modestly and tactfully woven. She may seem always the same, and yet she is always different. Step by step she builds herself, the mark of her own personality and power, her own style which can only be named Dany Zarnescu.”
Ilie Boca, “The Encyclopedia of Romanian Contemporary Artists”
ARC Publishing House, 2000, Bucharest
“The black in Dany Zarnescu’s works has nothing to do with the darkness of the light. It is, rather, that “overbright darkness” envisaged by the mystics, the colour of the secret, of withdrawal within oneself, the symbol of leaving the world (for another one), the colour of monks’ clothing. Black is the quintessence of the light, that fifth essence that only the spirit supplies.”
Niadi Cernica, Ateneu magazine, July 2002
The theologies of the beauty…
Dany Zarnescu challenges the viewer’s imagination so that the dialogue with light starts from the immanence of the dark. The almost perfect compactness of the black claims the triumph of divine light as a reward. Delicate slits in the dark body of the surface allow the flame of light to burst out of the invisible space, like the astral force of faith. Burning reds evoke both the vital sanguinity and the sacred dimension of the living. The sign of the cross, hinted at by means of well-inspired foldings of the matter, creates the bond between the ground and the cosmic space. In the night of existence, Dany Zarnescu lits the Easter torches as images of purification and Ascension in Christ. The inspired hand of the artist is nothing but the force opening the way towards divinity.
Valentin Ciuca – Ateneu, May 2008
“Dany Zarnescu seems to have discovered, in the style she has been practising, a protective cell, ideal for the reserved nature. Her collages come as a result of a solemn game to fill the hand and the mind, played with patience and nun-like devoutness and stemming from the need of quietening, penitence, reclusion and freedom, wakefulness and waiting. Full of silence and plenty of enigmas, they exorcise unseen demons and build a protective space. To fully see and understand them, one needs to watch them closely, minutely, differently from paintings, with a researcher’s eye.”
Constantin Calin, Ziarul de Bacau (the local paper), July 2005
Dany Zarnescu shares with the inquisitive minds of the inter-war period their intention to break all art patterns by enriching the means of expression. Their attempt to transgress disciplined pictoriality and two-dimensional space was not without a purpose: in this way they aimed at acquiring modern naughtiness and achieving the emancipation and improvement of the whole artistic register. The techniques of collage and frottage are but two alternative solutions in the large stylistic inventory. Collages allow for the free association of bits of paper, textile and metallic fragments on the surface of the painting with the purpose of subverting the authority of classic materials and of establishing new hierarchies and alternatives. Unparadoxically, in the case of Dany-Madlen Zarnescu, what is meant to perish bares the mark of eternity. Paper follows unpredictable directions and acquires suggestive volumes.
Most of the times black, the backgrounds point out forms and volumes animated by light. Her work has the inner vibration of an exciting and suggestive cosmos.
She reaches such refinement that she can comment upon the almost supremacist theme of colour shades. As image innovation she creates windows towards the absolute; the light-colour slits animate the graphic field. Her collages have a picturesque meaning and they are the expression of a modern, ingenious and profound spirit.”
Valentin Ciuca – the album “One Century of Fine Arts in Bukovina”
BIO DANY-MADLEN ZARNESCU
Born on October 10th, 1950, Vama, Suceava country, Romania.
Studies: „Alexandru Ioan Cuza” University of Iasi, the Faculty of Drawing, the class of professor Nicolae Matyus. Member of the Romanian Artists’ National Union.
2010-Exhibition at the Art Museum in the Baroque Palace, Timisoara; 2009-Exhibition at the „Mihai Eminescu” Society for the Romanian Culture, Cernauti, Ukraine; Exhibition at the Bucovina Museum Complex, Suceava; 2008-„Minimal Art” exhibition at the „Noua” Gallery, Bacau; 2005-Exhibition at the „Artis” Gallery, Bucharest; Exhibition at the „Velea” Gallery, Bacau; 2002-Collage Exhibition at the „Art” Gallery, Bacau; 1998-Collage Exhibition at the „Filart” Gallery, Bacau; 1997-Exhibition at the „Ad-Hoc” Galleries, Bacau; 1976-Graphics Exhibition at the Cultural Centre, Slobozia, Ialomita.
Group Exhibitions (selected):
2012 Exhibition during the memorial celebration
,,John Cage Centenary-Black Mountain College Phenomenon-John Cage and his art” at ”Triade” Gallery, Timisoara; Exhibition „Am I my brother’s guardian?” at ,,Bastion’’ Gallery, Timisoara; International Biennial Exhibition of Contemporary Art, „Micro”, the second edition, 2012, at the International Art and Literature Centre, Cordoba, Spain; „Art at the frontier of arts”, ICR, Budapest and the Art Museum, Timisoara; „Dialogue with the sacred”, the „Galata” Gallery of Sacred Art, Iasi; „European Bridges”, the Art Museum, Constanta; 2011-„Contemporary Synthesis of Romanian Art” at the „Constantin Brancusi” Exhibition Hall of the Romanian Parliament, Bucharest; „Artis” Exhibition Hall, Iasi; 2010-„Totem” Fine Arts International Exhibition, the VIth edition, Targu Mures and Iasi; CIALEC International Salon of Contemporary Art, IInd edition, Cordoba, Spain; „Micro” International Biennial of Contemporary Art at the International Art and Literature Centre, Cordoba, Spain; „Contemporary Artists”, the „House of Art” Gallery, Bucharest; „Abstract”, the „House of Art” Gallery, Bucuresti; 2009 – Exhibition of the Sucevita art camp at the „Bucovina” Museum Complex, Suceava and the Art Museum, Cernauti, Ukraine; „Experiment” exhibition at „Alfa” Gallery; „Writing, form, symbol”, the Contemporary Art Gallery of „Iulian Antonescu” Museum,Bacau; „Art and Sacredness”, Focsani; 2008-„Tradition and postmodernism” and „The sacred in art” exhibitions at Focsani, Vrancea; Exhibition „3” at the Contemporary Art Gallery of the Iulian Antonescu Museum, Bacau; Exhibition „10+1”, Focsani; Exhitibion „Bacau artists in the collections of the Art Museum” at „Alfa” Gallery, Bacau; 2007 – Exhibition „Bucovinean Artists in Bacau” at „Alfa” gallery; Exhibition „Artitudes” at the „Brancovan Palaces” Cultural Centre, Mogosoaia; Exhibition
„Humane One” at the „Velea” Gallery, Bacau; 2006-the Exhibition of Tescani Cultural Centre at the „Veroniki Art”, Bucuresti; the Exhibition of the „Workshop” Symposium, Chisinau; Exhibition: „Meridian”, at the „Art” Gallery, Bacau; the National Salon of Art, „Constantin Brancusi” Exhibition Hall, Bucharest; 2006 – 2004 „Ion Andreescu” Art Biennial, Buzau; 2005-Exhibition „Nine”at the „George Apostu” Culture and Arts Centre, Bacau; 2004 – Exhibition: „Artitudes” at the „Art” Gallery, Bacau; Exhibition of the Bacau UAP Branch at Bistrita 2003 – „13 Woman Painters” at the „Alfa” Gallery, Bacau; „Approaching beauty” exhibition at „George Bacovia” University, Bacau; 2003, 2002-„Profart”, in the „Athenaeum” Hall, Bacau; 2002 – Exhibition „8 Art” at the „Arta” Gallery, Bacau; 2002,2001, 2000 – Exhibition „Art and the sacred” at the German Institute and the „Cupola” Gallery, Iasi; 2001- the „Romexpo” National Salon of Art, Bucharest; 2000 – the exhibition of the „Avangard Visual Art” Foundation, Moinesti; Exhibition „Ambient”, Bacau; 1999 – exhibition „Decomposition” at the „Alfa” Gallery, Bacau; „The sacred in art” at „Alfa” Gallery, Bacau; „8 Art” at the „George Apostu” Culture and Arts Centre, Bacau; 1999, 1998 – the Contest of the „Saint Luca” Foundation, Barlad; 1998 – „The church in Fine Art”, at the „Alfa” Gallery, Bacau; ,,17Artists” exhibition at the Romanian Literature Museum, Bucharest; 1997-2011, participation at all editions of the „Lascar Vorel” Biennial, Piatra Neamt; 1997-Exhibition „One x 6” at the „George Apostu” International Cultural Centre, Bacau; 1996 – „J.L.Calderon” Gallery, Bucharest; The Husit Museum, Tabor, Cehia; 1996, 1995 Group exhibition at „Voronetiana”, Suceava; 1995- „Victoria” Gallery, Iasi; 1994- the Art Museum, Cluj; 2003, 2001, 1999, 1993 – exhibitions of the Tescani International Art Camp; 1993- Wiesbaden, Germany; 1992 – the „Alfa” Gallery, Bacau; 1991- the „House of Art” Gallery, Bucharest; 2012-1990- participation at all editions of „Moldavian Salons”, Bacau-Chisinau; 1990- „Christian signs”, „George Apostu” Gallery, Bacau; 1986-1984 the A35 Exhibitions, „Art” Gallery, Bacau; 1977- the Art Galleries, Constanta; 1974, The UAP Art Galleries, Iasi; 1983-1974- participation at all exhibitions organised by „Stefan Luchian” Literary Circle at the Art Museum in Slobozia, Ialomita.
National and international workshops:
2012- the International Workshop of Painting and Sculpture, „European Bridges”, the 10th edition, organized by the Romanian Association of Creative Women in Fine Arts, Eforie Sud; 2011- the Symposium of painting from Srebrno Jezero, Serbia; the camp of creation and documentation, Balcic, Bulgaria; 2010- the National Art Camp, Braila; 2009-Art Camp at Sucevita, “Art, a common language of two cultures”, a Romania-Ukraine collaboration; 2008 – International Workshop “Art Textil”-fifth edition at Sadova-Calarasi, Republic of Moldova; 2006-Workshop at Chisinau, Republic of Moldova ; 1998, 2000, 2002 – “Nicolae Tonitza” National Art Camp at Durau, Piatra Neamt ; 2000 – International Art Camp at Moinesti, Slanic-Moldova organized by the Cultural Foundation “Avangard Visual Art”; 1996, 1997 National Art Camp at Magura ; 1999, 2001, 2003 International Art Camp Tescani ; 1985 National Art Camp at Moinesti, Bacau ; 1987 Darmanesti ; 1994 National Art Camp at Nicula, Cluj ; 1991, 1993, 1984 Camp at Berzunti, Bacau; 1981 Camp at Amara –Ialomita.
2012- Honorary Diploma at the Micro International Biennial of Contemporary Art, the second edition, organized by the International Centre of Art and Literature, Cordoba, Spain ; Prize and medal ‘The Golden Lindentree ‘, at the visual art section of Eminescu Prizes, the XI th edition, Botosani ; 2011- Certificate of Excellence awarded by the ‘Artis’ Salon, Iasi ; 2010-Juried Winner at www.artslant.com ; 2009- The Prize of the Chisinau Mayoralty – Republic of Moldova ; Honorary Diploma of the ‘Mihai Eminescu’ Society for Romanian Culture, Cernauti, Ukraine ; 2008- certificate of Excellence for participation at the International Symposium ‘Ion Druta- folkloric traditions in the visual arts and literature’ at Sadova, Republic of Moldova ; 2005 The Prize of the Bacau branch of the Fine Artists’ Union of Romania ; 2005 and 2007 Nomination for the Contest-Exhibition “Saloanele Moldovei” ; 2003 Nomination for “Lascar Vorel” Biennial, Piatra Neamt ; 2003 The Prize for Fine Arts granted by the Cultural Foundation of Bucovina ; 2002 Nomination for the the Fine Artists’ Union of Romania national prizes ; 2002 The Prize of the Fine Artists’ Union of Romania at the Contest-Exhibition “Saloanele Moldovei” ; 1999 The Prize of “Sf. Nicolae” Foundation at Barlad ; 1997 Graphics Prize at “Lascar Vorel” Biennale at Piatra-Neamt ; 1994 First Prize at National Exhibition “ Bacovian Universe“, Bacau.
Books References (selected) :
Aires de Cordoba Museum of Modern Arts, A.C. Press, Cordoba, Spain, 2011 ; Valentin Ciuca, ‘ The Illustrated Dictionary of Fine Arts of Moldova, 1800-2010, ART XXI Press, Iasi, 2011 ; ‘The Romanian Fine Art Ladies’, Artmark Gallery 2011 ; Francisco Arroyo Ceballos, ‘Art Critic’, Cordoba Libros Press, Spain, 2010 ; the Annual of Contemporary Culture and Art, 2010, Cordoba, Spain ; Valentin Ciuca, ‘Selective Vernishings’, ART XXI Press, 2010, Iasi ; Otilia and Vasile Sfarghiu, ‘ Fine Art Artists from Campulung’, Axa Botosani Press, 2010 ; G. Djordjevich, ‘Tradition and Modernism in the Romanian Painting’, Eurogama Invest, 2010 ; Emilian Drehuta, “Bacau County Encyclopedia“ Agora Press 2007; Carmen Mihalache “ Dialogues in the workshop” Cronica Press, Iasi 2005; Valentin Ciuca “A Century of Fine Arts in Bucovina » Musatinii Press, Suceava 2005; Emil Satco ‘The Encyclopedia of Bucovina’ vol.II Princeps Press Iasi 2004;
Cornel Galben“Who’s who in Bacau”, vol.II Corgal Press Bacau 2003; Who’s who in Romania, Pegasus Press Bucharest 2002; Directory of Contemporary Fine Artists, Bacau Branch of UAP Romania 1996, Edition I, 2002 Edition II, Corgal Press Bacau; Al. Cebuc, V.Florea, N.Laptoiu – Encyclopedia of Romanian Contemporary Fine Artists,vol.I, Arc Press 2000; Emil Satco – Bucovina, cultural and scientifc contributions. Dictionary IX , Bucovina Press; ‘I.G. Sbiera ” Library of Bucovina Press, Suceava 2000.
Works in Museums and Collections: nationally:
Art Museums in Bacau, Piatra–Neamt, Cluj, Bucovina Museum in Suceava, « I.G.Sbiera » Library of Bucovina, in Suceava, Compared Art Museum in Singeorz-Bai, Cultural Center « Palatele Brancovenesti » in Mogosoaia
Abroad: Art Museum in Chernivtsi, Ukraine, Art Museum in Chisinau, Republic of Moldova, European Centre for Promoting Art and Literature (CEPAL) in Thionville, France, International Centre for Art and Literature, Cordoba (CIALEC) Spain;
Private collections in: USA, Switzerland, Egypt, France, Italy, Norway, Spain, Bulgaria.