In the Monument from Moisei, the artist attained that unique tension to which the vocation of order, of the psychic and cosmic balance, of the place decisively impregnated with humanity, from the Dacian sanctuaries or from the brancusian evocative spaces, began to be substantiated. The 12 circularly disposed columns represent people from Maramures or beings of the local mythology. A subtle game of the centripetal forces gathers in here the spiritual life’s data, while the centrifugal tensions immeasurably expand the meanings of this place in which heroes from Maramures are glorified. In The Council of the Elders, the artist chooses from the village life of an ancient and perfectly fulfilled civilization, a grave and solemn moment. It is a moment in which the elders, mostly present there, in the middle of the village, evade concrete data and they enter a never ending time, a space of meditation. In the rest of his works, Vida was also concerned with researching and bringing to light the popular mythology of certain representations rooted in magical practices. An acute imaginative state amplified in the most operative way the meanings of things and events (The Man of the Waters, The Man of the Night, The Man of the Forest, Solornonarul, The Stir of the Mine, The Werewolf of the Mine etc). The artist simultaneously created works in which the focus point became realist notation, the observation of some glimpses of life - Buciumaşul, Recreation, Dance from Oas, Horitoarea, The Carnival.

Constantin Prut (2014)
Dicționar de artă modernă și contemporană, ediție în curs de apariție la Editura Polirom, Iași, 2015