I think of my work as a collection of sentences and short stories.

I often work with existing material. I like to think about a referent such as an image, a written text, a moving picture or personal archive as possessing an implicit documentary quality, bearing a truth beyond its subjective appearance and motivation. Sometimes this primal aspect is far from reach, if I work for example with the title of a book, or an archive of personal school test papers. I work toward acknowledging this aspect, toward clarification. Then, I proceed at reassembling the material in expressive forms to be sent anew into the public sphere. Through various mediums I compare, I turn around, I lurk around, I discard the unnecessary, I make cuts and folds, I reveal, I confess. I complete a cycle. I try to address existing material with care, with precision, in line with ideas of preservation, reparation, recognition, rehabilitation.

As much as I am interested in recognizing and preserving forms, I have been preoccupied more recently with defining for myself what it has to be done, what it is acceptable or not to do, and whether one has to favor models and similarities, or instead one must exercise a certain freedom, one must remain an obstinate foreigner. Therefore, I am once again coming back to early manifestations, to acts of learning and repetition, to forms of replication and comparison, and in emulating simple gestures, such for example the act of learning to swim, as a performance at the Black Sea, I am, ultimately, bringing into play a feeling of inevitability, a sense of urgency. / Raluca Popa


2019 Raluca Popa / How to Disappear
2018 Truth Lies Not Only In A Dream, But In Many Dreams