About Me

Born in Giurgiu and having gone to school in Bucharest, although I have a technical education, I grew up in an environment permanently influenced by the beauty of Eugenia Jelescu's painting classes and the atmosphere of the painting circle in the attic of the high school in the corner of Cișmigiului. The superb creations of pre-war artists seen in the homes of friends and myself, the works in museums, the architecture of the buildings I passed by, the doors and windows in Cotroceni executed with perfect attention to detail, left their mark on me one after the other, without me realising it at the time.

After a long period of industrial activity, with all the routine it implies, because I constantly felt the desire to be creative, to live in a more colourful environment than the grey and beige of everyday life, I felt the need to detach myself from everything that means mass-produced products and approach the area where aesthetics is the main result of my work. This change occurred when I wanted my first stained glass windows for myself, when I realized that through stained glass windows I could realize both my desire to participate in the beautification of everyday life, of myself and of others, and at the same time use the technical experience I had accumulated over time.

After studying the various methods of making decorative glass for doors and windows, I have come to the conclusion that the TIFFANY method is the one that suits me best. This is because mass-coloured glass, often obtained by semi-industrial processes, gives you the feeling, when working with it, that it is alive, changing its brilliance every time the light hits it from a different angle. It is light, that factor that influences our quality of life so much, that causes an eternal change in the chromaticity of the final work so that a stained glass window, although the same for a lifetime, is different every moment.

When, constrained by imposed themes and, in many cases, limited by price, I looked for the possibility to express myself freely, I discovered that, by combining pieces of glass with pieces of mirror, I could have results that reflected my desires, I became definitively addicted to this craft. My mirrors, although directly influenced by my periodically changing moods, all express the nostalgia of the times when the Via Vittoria was animated by ladies in elegant dresses and lace umbrellas, accompanied by gentlemen with top hats and lavaliere.

This is how I try to restore the mirror to its rightful value: the most beautiful piece of furniture in a house. It is the only one, the only one able to capture and render light, colour, to create the illusion of space.

Glass Nouveau mirrors, by developing and adapting the mode of composition to the contemporary, aims to reawaken the taste for beauty, to bring back the subject of survival and perpetuation of crafts. Because the beauty of the small flaws inherent in handwork, incorporated into the whole of an object that is both useful and pleasing at the same time, can never be matched by the cold perfection of an industrially produced object. They are at once pieces of furniture, and at the same time, with your will, objects of art.