In the wood mass - usually used in one piece - he gradually applies material reductions until the element’s massiveness starts to break and makes way to constructive principles carrying great significations. The "monolith" matter becomes transparent, sensitive to the project conceived in the name of a transcendent will. The hole, the opening of the massive form may take the aspect of a window or of a cross, with special connotations to a material that gathers ancient meanings for the mythology around regeneration and, at the beginning of our era, the "exhibit on wood", converted to suggesting the Immolation.
(Iteşti, Bacău, 1950 - Botoşani, 2008)
1970 - 1974 - Institute of Art, Iaşi;
1980 - 1984 - "Nicolae Grigorescu" Institute of Fine Arts, Bucharest.
Member of Romanian Fine Arts Union
1978, 1992 - Alfa Gallery, Bacău.
1993 - George Apostu, Bacău.
Fundația Culturală META, Un secol de sculptură românească. Dicționar A-D, Colecția SINTEZE, Editura META, 2001, pp. 55 - 56.
Anuala ‛97, Muzeul de Artă, Bacău, 1997.