In the first stage of his creation, he was concerned with introducing in the plastic language some rationalizing principles, until submitting the forms in a geometrical rigor. The sorting exercise, the asceticism of the forms proved to be a useful experience, after which he began to recover elements of sensitivity, having the effects of a more spontaneous carving. Although, generally, the work’s structure in the following years remained geometrical, the material - wood or stone - supported the unpredictable motion of the world and of the chisel’s action in a more direct manner, marked by an irrepressible inner tension.
Constantin Prut (2014)
Dicționar de artă modernă și contemporană, ediție în curs de apariție la Editura Polirom, Iași, 2015