Completely devoid of prejudices or inhibitions when confronting the various myths art genres keep promoting, Maxim Dumitras passes from one expression to another, from an artistic language to another, from a certain type of representation to another with remarkable easiness and amazing freshness. Escaping the captivity of genres, he has freed himself of technique monotony and the obsession of themes.

The cultural memory and the ancestral handicraft always go along when they don't just meet with the latest technique but also with an irresponsible experimental urge.

The archaic faces of his earlier painting - impresional and timeless just like folk painting - have disintegrated in the past few years and melted into chromatic composition of outstanding vitality and equally strong visual impact. His sculpture follows a quite similar path: wood, stone, clay, twing and bronze, alone or mixed, raw or processed as to give the illusion of transparency. These works coment on models already existing in the etnographic inventory or they build up shapes preexisting only in the imaginary world. If from an artistic viewpoint these composition are a huge source of sensorial pleasure, from the moral standpoint they oscillate between seriousness and denuncion, between metaphysical templation and the playful skepticism of a postmodern consciousness. PAVEL SUSARA critic of art .