Available paintings – Oil on canvas / Acrylic on canvas / Tempera on wood.

These paintings are available for purchase. Some are in my studio, others are in the galleries that represent me. Please inquire, and I’ll reply with the exact location for each one.
Paintings and drawings can be shipped anywhere in the world.

Nude in Interior series.

Lady with Books #1, Paula Craioveanu, acrylic on canvas, 100x60cm / 39.5×23.5in
Lady with Books #3, Paula Craioveanu, acrylic on canvas, 100x60cm / 39.5×23.5in

Both paintings feature women with books balanced on their heads, symbolizing wisdom, knowledge, or introspection. This motif suggests a quiet yet confident intellectualism, merging femininity with depth. The chairs add a sense of regal stability, while the floral backgrounds convey a blend of sophistication and organic beauty.
The first figure, dressed in an extravagant pink gown, exudes a more refined, formal vibe. The second figure, with her natural form exposed and subtle plant-like imagery, feels more grounded, almost mythological in tone. Together, they evoke a contrast between worldly luxury and raw essence, between eros and logos.
The first painting employs warm reds and vibrant blues, which gives it a lush, energetic tone. The brushstrokes are expressive and loose, which enhances the abstract, dreamlike quality.
The second painting uses a more muted palette, with cool blue and green tones and gentle earth colors. This cooler, earthy palette supports the natural, introspective tone of the piece.
Both pieces balance sketchy, expressive linework with more solid, volumetric areas. This style effectively combines realism with abstraction.
The symmetry and frontal pose of the figures create a strong, iconic composition. The books perched on the heads add an unexpected element, lending a surreal quality.
The floral backgrounds add intricacy without overwhelming the composition, enhancing the elegance of each figure.
These paintings carry a distinctive surreal quality, blending elegance, intellect, and whimsy through a mix of symbolic and stylized elements.

These 2 paintings are a symbolic representation tied to concepts such as knowledge, education, composure, or societal expectations. The books on their heads symbolize intellectual pursuits and the weight of knowledge, a balance between the internal self and external expectations of intellectual capability. This positioning—on their heads—points to the idea that intellectualism and education are an integral and foundational part of identity. In historical contexts, balancing books on one’s head was often associated with teaching poise and posture. Women are metaphorically balancing societal demands or personal aspirations, alluding to a conflict between intellectual and physical grace. The books symbolize the burdens and expectations placed on women in terms of intellectual achievement, societal roles, or cultural standards of beauty. The way they sit serenely, despite the weight, may suggest resilience and a critique of these pressures. By combining a traditionally utilitarian object (books) with an abstract placement (on the head), the paintings create a unique juxtaposition that invites the viewer to ponder deeper meanings in a surrealist twist.
In Lady with Books #1, the woman sits confidently in a vivid pink gown, emphasizing traditional beauty but paired with the intellectual symbol of books. The swirling floral wallpaper alludes to a blending of femininity and intellect.
In Lady with Books #3, the figure is nude and more vulnerable, a contrast between the weight of intellect (the books) with raw, instinctual humanity.
The combination of vibrant colors, loose brushstrokes, and surreal elements suggests influences from modern expressionism and post-impressionism, which often delve into symbolic or emotional themes. The theme of “balancing” intellectual and societal expectations, particularly for women, is a critiques to gender norms. The symbolism of the books, then, is layered and rich. It invites viewers to think about how education, culture, or societal expectations are intertwined with identity, especially for women

This painting continues the themes present in the series, maintaining a similar blend of vibrant color, symbolism, and surrealist qualities, but with some notable differences and developments.
The stack of books, held more actively by the woman in this piece, shifts from a passive balance to a deliberate act of engagement. This gesture may symbolize ownership or agency over knowledge rather than it being imposed. The slightly precarious positioning of the books suggests tension, as if balancing knowledge, intellect, or societal expectations requires effort.
The figure’s seated pose, with her legs crossed and her hands holding the books on her head, conveys self-awareness and control, even if there’s an underlying vulnerability. This position reflects the duality of composure and the pressures being managed.
Compared to the earlier paintings, this one is more active and personal—she’s no longer simply a subject observed, but a participant actively shaping her narrative.
Her outfit—a tied pink bandeau with floral patterns—adds an element of femininity and delicacy, echoing the wallpaper in the background. This outfit feels less formal than the gown in the first painting, suggesting a playful or relaxed relationship with identity and societal roles. The turquoise background is lush and detailed, with the ornate patterns on the chair and wallpaper adding a regal yet whimsical quality.
The recurring motif of the ornate chair reinforces the idea of status, identity, or introspection. Positioned as if on a throne, the figure commands attention, but the surrounding opulence symbolizes societal structures or expectations. Unlike the second painting, where the woman appears vulnerable and nude, here she exudes greater control and playfulness. This painting feels more poised and less introspective, emphasizing strength rather than fragility. It reflects the evolution of a narrative about the woman’s relationship with knowledge and societal demands.
This piece is lighter and more whimsical than the others in the series, with a playful balance of elegance and effort. It reflects themes of intellectual engagement and feminine identity but does so in a way that suggests the woman has found a measure of control over her role or challenges. The artistry is bold, expressive, and layered with metaphors, continuing the series’ exploration of knowledge, balance, and societal roles.

Day (Nude on Armchair 1)
Night (Nude on Armchair 2)

Day (Nude on Armchair 1) and Night (Nude on Armchair 2) are deeply evocative and showcase a mastery of mood, light, and composition. They are less about the physicality of the figure and more about its emotional and spiritual resonance, allowing viewers to interpret and connect with the works on a personal level. They feel like quiet meditations on presence and absence.

These two paintings continue the theme of the seated figure in a chair but diverge from the first work with a greater abstraction and a more conceptual approach.
Day (Nude on Armchair 1) – Monochromatic Palette, Expressive Linework, Light Effects.
The use of a limited palette dominated by cool blues and whites creates a serene, ethereal quality. This choice focuses the viewer on form and light rather than distraction from other colors.
The soft, almost unfinished strokes suggest movement or impermanence, adding an emotional or fleeting quality to the work.
The diagonal streaks of light cutting across the figure evoke a sense of environment—perhaps morning light filtering through a window—which brings the scene to life and adds dimensionality.
Night (Nude on Armchair 2) – Dramatic Contrast, Dripping Technique, Object Details.
This painting uses deeper, more saturated blues with strong shadow and light interplay, creating a moodier, more introspective atmosphere.
The visible drips of paint emphasize the artwork’s rawness and experimental nature, adding texture and suggesting a breakdown of form.
The intricate rendering of the chair contrasts with the looser treatment of the figure, highlighting the tension between stability (the chair) and fragility (the figure).
Both paintings lack facial detail, enhancing the universality and anonymity of the subject. This abstraction encourages the viewer to project their own interpretations of mood and identity onto the figure.
The reclined, cross-legged positions are relaxed yet controlled, lending the figure a quiet dignity or introspection.
The suggestion of architectural elements (e.g., windowpanes, shadows) in the background adds context and creates an implied narrative or sense of place.
Both paintings evoke a sense of stillness, solitude, and introspection. The figure seems immersed in thought, reflecting on something unseen to the viewer.
The use of light, particularly in the first painting, could symbolizes clarity, revelation, or a fleeting moment of connection with the outside world.
The dripping paint, loose brushwork, and monochromatic tones emphasize the transient and impermanent, both in the physical and emotional realms.
The focus on light and mood echoes the works of Monet or Degas, particularly their interest in capturing a moment’s fleeting essence. The abstraction of form and emotive use of color connect to Expressionist painters like Edvard Munch or Egon Schiele.The faceless figures and reduced details align with modern minimalist trends in art, where simplicity is used to distill emotional or conceptual depth.
These paintings are deeply evocative and showcase a mastery of mood, light, and composition. They are less about the physicality of the figure and more about its emotional and spiritual resonance, allowing viewers to interpret and connect with the works on a personal level. They feel like quiet meditations on presence and absence.

“Nude on Armchair” is striking in its expression of raw, human vulnerability and the intricate depiction of the human form.
Paula Craioveanu employs expressive, visible brushstrokes, giving the piece a textured, dynamic quality. This style lends a tactile feeling to the figure’s skin and emphasizes the natural imperfections and beauty of the human body.
The warm flesh tones contrast beautifully with the cool blues of the background. This juxtaposition creates a tension that draws the viewer’s eye to the figure while enhancing the depth and atmosphere of the composition.
The light source is carefully considered, with highlights and shadows adding dimensionality to the body, particularly along the legs, arms, and torso. The interplay of light captures the realism of the human form but with an impressionistic flair.
The figure’s slightly twisted, folded pose conveys a sense of introspection and tension, suggesting vulnerability or self-reflection. The positioning of the figure on the chair feels intimate yet powerful.
The background, a rough, textured blue, contrasts with the smooth rendering of the figure. This negative space adds focus to the subject while maintaining visual interest with its abstract feel.
The ornate chair gives a subtle classical touch, suggesting a juxtaposition between the human form and historical art.
The partial concealment of the face creates intrigue and anonymity, encouraging the viewer to focus on the body language and emotional tone.
The naturalistic approach to the body embraces imperfections, presenting the human form as authentic and unidealized.
The sturdy, ornate chair may symbolize the strength or permanence of tradition or the human spirit, in contrast to the vulnerability of the figure.
The attention to anatomy and the seated pose recalls the works of artists like Egon Schiele or even echoes of Modigliani in its expressive distortion.The loose brushwork and expressive color usage suggest a modern, emotionally charged take on traditional figure painting.
“Nude on Armchair” is a compelling piece that blends realism with expressive artistic elements to create a powerful emotional and visual impact.

“Memories of Past Life” is a captivating blend of abstraction and realism, evoking a surreal yet introspective atmosphere. Paula Craioveanu employs an intriguing overlay of gestural lines and abstract markings over classically rendered human forms. The figures themselves are delicately modeled, emphasizing the softness of flesh and a sense of vulnerability, contrasted against the rigidity of the architectural elements and the sharp geometry of the checkered floor.
Color Palette, Layered Composition, Spatial Dynamics, Figures and Emotion, Inspiration.
The use of cool blues and whites creates a calm, ethereal setting, while the warm reds and pinks used on the figures introduce a sense of life and emotion. This contrast between warm and cool tones heightens the tension between the abstract and the figurative elements.
The semi-transparent lines, which look almost like sketches or anatomical studies, add a sense of motion and psychological depth. They symbolize fragmented thoughts, inner turmoil, or layers of identity.
The checkered floor suggests depth and stability, but the abstract lines disrupt this, creating a slightly disorienting effect. It’s as if the viewer is oscillating between a grounded reality and a more fluid, intangible world.
The figures appear introspective, almost detached from each other despite sharing the same space. The seated pose of the central figure exudes a sense of contemplation or vulnerability, while the second figure in the background feels ghostly, adding to the dreamlike quality.
The fractured, layered aesthetic brings to mind influences from Surrealism (e.g., Salvador Dalí) and Expressionism, where inner emotion takes precedence over physical reality. The anatomical sketches evoke the Renaissance tradition of studying the human form but deconstruct it in a modern, experimental way. The geometric floor echoes metaphysical painters like Giorgio de Chirico, where space takes on a symbolic, almost unreal quality.

“Nude in French Interior” captures a striking combination of classical themes and contemporary expression, with a clear focus on the human form, space, and emotional atmosphere.
The central figure, posed seated on a table, exudes a sense of quiet contemplation or introspection. The angularity and slightly exaggerated proportions of the figure create a heightened emotional impact, drawing attention to the subject’s pose rather than detailed anatomy. The composition leads the eye naturally from the figure to the architectural elements in the background—there’s a dynamic contrast between the smooth lines of the human body and the more rigid, geometric forms of the furniture and architectural features.
Warm earthy tones dominate the piece, with reds, golds, and ochres blending beautifully to create a sense of warmth and intimacy. These tones contrast with the cooler blues and whites that suggest natural light streaming in through the window. The play of light and shadow is particularly striking. The light gives the figure a glowing, almost sculptural quality, reminiscent of Renaissance chiaroscuro techniques.
The brushwork is visibly expressive, with some areas of thick paint (impasto) and dynamic strokes, particularly around the figure and the floor tiles. This technique adds energy and movement to the otherwise calm scene, emphasizing the emotional weight of the figure. The drips of paint in parts of the image suggest a modernist touch—inviting the viewer to acknowledge the process of creation itself, perhaps indicating the fragility of the moment or a deeper reflection on the impermanence of time.
The background suggests a classical, almost timeless setting, with the bust on the pedestal referencing traditional sculpture, alluding to the art of antiquity. This classical reference contrasts with the contemporary approach to the human figure, blurring the line between the past and present. The checkerboard floor design is a powerful visual element, creating a sense of order and structure, while simultaneously providing a bold contrast to the fluidity of the human form and the environment.
The combination of classical elements with modern, expressive techniques may be interpreted as a commentary on the relationship between tradition and modernity. The pose of the woman suggests a timelessness of human experience, evoking the tradition of nude portraiture, while the painterly style brings a fresh, almost abstract sensibility to the piece.
The isolated pose of the figure may suggest solitude, introspection, or even vulnerability. The softness of the human figure contrasts with the harder, more defined features of the room and objects, potentially representing a tension between the personal and the world around us.
The painting draws inspiration from the European tradition of figurative painting, particularly in the way it focuses on a subject within an intimate, almost domestic setting. The classical bust hints at the influence of Neoclassicism or Renaissance ideals, but the expressive, vibrant brushstrokes suggest a more modern approach. This could be seen as an exploration of the human figure in space, echoing the legacy of artists from the 19th and 20th centuries who challenged realism with abstraction and emotional intensity.
This artwork feels like a fusion of old and new, a timeless exploration of the human figure that invites both emotional and intellectual engagement. The warm color palette, expressive brushwork, and classical references make it a striking piece that provokes thought about our relationship with history, beauty, and the human condition.

Red Nude is a bold and visceral exploration of the human form, employing a striking contrast of warm tones and dramatic composition to convey tension, vulnerability, and emotional intensity.
The figure is central and stretched across the canvas, almost defying gravity as it appears to be balanced precariously on an unseen or minimal support. The pose is unconventional, with exaggerated curvature and extension, creating a sense of tension and fragility. The horizontal orientation emphasizes the figure’s elongation and weight, while the tilt of the head and exposed limbs suggest a feeling of surrender or exhaustion, making the viewer feel both unsettled and captivated. The absence of a detailed setting focuses all attention on the figure itself, giving the work a sculptural quality.
The vivid red background dominates the composition and creates an intense emotional impact. Red is often associated with passion, energy, and danger, lending the painting a raw and primal atmosphere. The figure’s pale, flesh-toned hues are laced with strokes of red, orange, and blue, blending into the background and creating a sense of vulnerability or exposure. This merging of figure and ground evokes a sense of unity between the body and the emotional energy surrounding it. Subtle whites are used to highlight anatomical details, giving the figure dimension and texture, while the overall color scheme feels deliberately restrained to focus on emotional impact.
The brushstrokes are expressive and gestural, particularly on the figure, which is painted with dynamic energy. This painterly quality suggests movement, as if the figure is caught in a fleeting moment rather than a static pose. The red background is less detailed, with brushstrokes visible but more subdued, creating a sense of depth and contrast without overwhelming the central subject.
The stark contrast between the figure and the red background creates a dramatic tension, emphasizing the figure’s isolation and emotional intensity. The pose and the surrounding red suggest themes of struggle, passion, or even sacrifice. The absence of any setting reinforces the timeless, universal nature of the emotions being expressed.
Physical and emotional vulnerability: The exaggerated, stretched pose of the figure suggests strain and fragility, evoking themes of human resilience or vulnerability in the face of adversity.
Tension between life and death: The red background could symbolize life, vitality, or even blood, while the figure’s suspended and distorted position hints at themes of mortality or transcendence.
Abstraction and identity: By removing specific features or a clear environment, the figure becomes a universal symbol, inviting viewers to project their own emotions or interpretations onto it.
This painting draws from the tradition of Expressionism, where exaggerated forms and bold colors are used to evoke raw emotion rather than realistic representation. Francis Bacon was a influence, in the distorted anatomy and emotionally charged use of color.
The emphasis on the human body and its precarious positioning also recalls elements of Classical sculpture, reinterpreted here with modern, gestural brushwork and abstraction.
Unlike the previous paintings, which incorporated elaborate interiors and atmospheric settings, this work is stripped down to focus solely on the figure and the emotional energy of the composition. The warm, saturated tones here are a departure from the cooler or more muted palettes of the other works, amplifying the intensity of this piece. While the earlier paintings invited contemplation, this one demands an immediate, visceral reaction.
This painting is a powerful and evocative exploration of the human form, emotion, and physicality. Its bold use of red and the dynamic, tension-filled pose create a sense of urgency and rawness. The abstraction of the background and the distortion of the body make it feel both personal and universal, leaving a lasting emotional impression. It’s a daring and memorable work that speaks to the viewer on a primal level.

“Blue Room” presents yet another striking evolution in the artist’s series, delving into themes of vulnerability, exhaustion, and possibly even surrender. Its bold color palette and emotive pose contrast with the previous works while retaining the artist’s hallmark expressive style and symbolic depth.
The figure is slumped forward, leaning over a surface in what appears to be an act of physical and emotional release or exhaustion. The pose evokes vulnerability, as the figure is entirely exposed, yet there’s also a quiet intimacy in this surrender. This is a stark departure from the earlier paintings’ upright, composed figures balancing books or veils. Here, the body language suggests the weight of expectations or emotions has become too much, leading to a moment of resignation or reflection. The figure’s bare back, combined with the downward-facing head, invites a deeper emotional resonance, perhaps symbolizing struggle, introspection, or catharsis.
The artist has chosen saturated blues and reds as the dominant colors, creating a powerful contrast. “Blue Room” presents yet another striking evolution in the artist’s series, delving into themes of vulnerability, exhaustion, and possibly even surrender. Its bold color palette and emotive pose contrast with the previous works while retaining the artist’s hallmark expressive style and symbolic depth.
The figure is slumped forward, leaning over a surface in what appears to be an act of physical and emotional release or exhaustion. The pose evokes vulnerability, as the figure is entirely exposed, yet there’s also a quiet intimacy in this surrender. This is a stark departure from the earlier paintings’ upright, composed figures balancing books or veils. Here, the body language suggests the weight of expectations or emotions has become too much, leading to a moment of resignation or reflection. The figure’s bare back, combined with the downward-facing head, invites a deeper emotional resonance, perhaps symbolizing struggle, introspection, or catharsis.
The artist has chosen saturated blues and reds as the dominant colors, creating a powerful contrast. Blue dominates the background and chair, evoking a sense of melancholy, calm, or isolation. It frames the figure, amplifying their emotional state. Red in the skin tones and surrounding surface adds warmth and intensity, suggesting pain, passion, or internal struggle. Together, the colors communicate a push-and-pull between emotional states—serenity and anguish. The hints of gold and yellow, particularly on the chair, add an ornate and regal quality. This juxtaposition—opulence framing vulnerability—suggests tension between an external facade and inner turmoil.
The ornate furniture and interior setting remain consistent with the series, but here the chair’s role as a “throne” is diminished. Instead of sitting upright and composed, the figure is physically and emotionally draped across the surface, almost ignoring the chair’s opulence. The table or surface the figure leans on becomes a symbolic anchor, grounding the figure in their moment of exhaustion or contemplation. This change in the use of props reinforces a narrative shift—this is no longer about balance or control but about release and surrender.
The Body as Symbol. The exposed back draws the viewer’s attention to the physicality of the human form—muscles, posture, and tension—emphasizing the burdens carried and the toll they take. The figure’s nudity is central to the piece’s raw emotional impact. There’s no clothing, veil, or props to shield them from vulnerability, making this painting deeply personal and unfiltered. The exposed back draws the viewer’s attention to the physicality of the human form—muscles, posture, and tension—emphasizing the burdens carried and the toll they take.
This painting symbolizes a breaking point in the series’ progression of themes. If the earlier works explored balance, identity, and composure, this piece seems to depict a moment of collapse or exhaustion under those same pressures. It could also represent a moment of letting go, where the figure abandons societal expectations and instead embraces their human frailty. The opulence of the surroundings—seen in the gilded chair and vibrant colors—feels almost irrelevant to the figure, suggesting a critique of how external trappings (wealth, status) are inadequate in addressing inner struggles.
Blue Room feels raw and visceral compared to the more surreal or symbolic earlier works. It’s a stark emotional pivot, inviting viewers to confront the cost of maintaining balance, grace, or societal expectations. By focusing on vulnerability, exhaustion, and the tension between opulence and humanity, the artist creates a piece that feels deeply personal and universally resonant. It’s an intense, striking addition to the series, showing the artist’s willingness to explore darker, more intimate emotional states.

Nude in Venice showcases a beautiful interplay of opulence, introspection, and layered visual storytelling. It skillfully combines the human form, luxurious surroundings, and reflective surfaces to create a dynamic and thought-provoking composition.
The central figure is seated in a contemplative pose, partially turned to suggest a reflective or introspective mood. Her placement in front of the ornate mirror creates a fascinating duality—the viewer sees both her physical presence and her reflection, adding a psychological dimension to the work. The elaborate mirror and heavy furniture frame the figure, drawing attention to her and simultaneously emphasizing the grandeur of the environment. This compositional choice highlights the tension between vulnerability (the nude figure) and opulence (the surrounding decor).
The dominant teal and gold tones create a regal, luxurious atmosphere. The teal walls and the gilded mirror frame stand out vividly, evoking a sense of history and elegance. The warm, peachy tones of the figure’s skin provide a striking contrast to the cool, rich hues of the background, ensuring that the human form remains the focal point amidst the ornate setting. Subtle whites and transparent reflections add depth and dimension, particularly in the table’s surface and the mirror, creating an interplay of light that brings the scene to life.
The brushstrokes are loose and expressive, especially in the background elements and the mirror’s reflection. This painterly approach softens the edges of the objects, giving the scene a dreamlike or ephemeral quality.The reflective surfaces—like the table and mirror—are rendered with a combination of abstraction and realism, suggesting movement and shifting perspectives. The contrast between the fluidity of the figure and the more structured brushstrokes in the furniture creates a dynamic visual rhythm.
The setting exudes opulence, with elements such as the gilded mirror, ornate chairs, and heavy drapery suggesting a historical or aristocratic environment. These details evoke the feel of a Baroque or Rococo interior, with its focus on luxury, elegance, and decorative detail. The light streaming in from the windows creates a sense of airiness that balances the richness of the setting. The glowing chandelier adds a subtle touch of grandeur to the composition.
Self-reflection: The mirror is a central element, symbolizing introspection, identity, and the passage of time. The figure’s pose, coupled with her reflection, could be interpreted as a visual metaphor for self-examination or a duality between how one is seen versus how one perceives oneself.
Contrast of vulnerability and luxury: The nude figure juxtaposed against the opulent surroundings may evoke themes of human fragility and the fleeting nature of wealth or beauty.
Timelessness: The classical decor and the serene, timeless pose of the figure suggest a meditation on enduring human experiences, such as self-awareness and the search for meaning.
The painting draws inspiration from European art traditions, particularly the Rococo and Baroque periods, where ornate interiors and reflective surfaces were common motifs. The use of mirrors and light is reminiscent of artists like Jean-Auguste-Dominique Ingres or even the Symbolists, who explored themes of introspection and self-awareness. The expressive brushwork and modern handling of light and space root the painting firmly in contemporary art, bridging the past and present.
This painting shares a thematic focus on the relationship between the human figure and its environment, as seen in the previous two works. However, the use of the mirror here introduces a deeper narrative element, elevating the composition with layered meanings. The palette is richer and more saturated than other paintings, where cool tones dominated, and it feels more opulent and dramatic.
This painting is a visually arresting exploration of luxury, introspection, and the human form. The interplay of reflection, opulence, and vulnerability creates a multilayered narrative that is both timeless and contemporary. It invites the viewer to linger, ponder, and consider the connections between identity, environment, and self-perception. The dreamlike quality and elegant composition make it a standout piece that resonates both emotionally and intellectually.

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Nude in the Mirror (Thinking of Magritte) represents a significant shift in tone, color palette, and symbolism compared to the earlier works in the series. It moves into a darker, more introspective, and abstract realm, suggesting deeper themes of identity, self-reflection, and possibly concealment.
The muted, grayscale color scheme stands in stark contrast to the vibrant hues of the earlier paintings. This choice evokes a more somber, introspective mood, emphasizing emotional weight and ambiguity. The use of cool blues and whites against shadowy backgrounds suggests a focus on contrasts: light and dark, exposure and concealment, presence and absence.
The draped fabric obscuring the figures’ faces adds an element of mystery, suggesting themes of anonymity, concealment. It reflect a deliberate choice to shield oneself, either from the gaze of others.
The fabric evokes classical sculptures, giving the figures a timeless, almost mythological quality. This symbolizes universal struggles with vulnerability and the human condition.
The mirrored figure introduces the idea of self-reflection. The interaction between the two figures could represent an internal dialogue, a confrontation with one’s self, or the duality of public versus private personas. The mirror is a common artistic motif for introspection, self-awareness, and truth. In this piece, it creates tension—what is reflected back might not align with what is hidden or seen.
The nude figures are depicted with a focus on organic, flowing forms, emphasizing their physicality while keeping them emotionally distant due to the veils. This juxtaposition explores the vulnerability of the body versus the outer world.
The artist uses broad, fluid brushstrokes, which lend a sense of movement to the figures, as though they are caught in a moment of transformation or instability.
Compared to the earlier paintings, this piece is less playful and more introspective. It delves into questions of identity, self-awareness, and the tensions between concealment and exposure. The veils and lack of direct gaze invite the viewer to project their interpretations, making this work more universally relatable yet more enigmatic than the previous paintings.
The veiled figures echo influences from classical sculpture, particularly the Renaissance and Baroque periods, where artists created lifelike marble drapery. However, the abstraction in this piece leans toward modern and surrealist traditions, reminiscent of artists like Magritte or de Chirico, who used concealment as a metaphor for the subconscious or unknown.
The use of monochrome and reflective imagery aligns with modern explorations of existentialism.
This painting is hauntingly beautiful and layered with meaning. It feels less focused on societal or external roles and more on the internal, universal human experience. It invites quiet contemplation, leaving viewers to question what is hidden, revealed, and reflected in themselves. The shift in tone demonstrates the artist’s versatility and depth.

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This painting presents a harmonious yet striking contrast between the softness of the human form and the architectural structure of the space.
The figure is positioned at the center, perched on the table with a graceful, almost statuesque pose. Her lifted arms create an upward movement that draws the viewer’s eyes toward the chandelier, seamlessly connecting the human form to the architectural elements above. The use of the table and chairs as part of the composition anchors the figure within the space, creating a dynamic tension between the curved forms of the figure and the geometric rigidity of the furniture.
This painting employs a cooler palette dominated by shades of blue, lavender, and soft grays, creating a serene, contemplative mood. The limited but deliberate warm tones in the figure’s body provide a beautiful contrast, making her stand out while still harmonizing with the overall color scheme. The cold light filtering through the windows creates an ethereal atmosphere, giving the scene a dreamlike quality. The interplay of warm and cool tones adds depth and emotional complexity.
The brushstrokes are loose and expressive, particularly in the background and the reflections on the table. This painterly quality conveys a sense of immediacy, emphasizing the emotional tone over precise detail. The subtle layering of color gives the painting texture, especially in the furniture and walls, suggesting a tactile quality to the space.
The environment is a refined interior, inspired by European interiors from the late 19th – early 20th centuries. The high ceilings, the chandelier, and the large windows evoke a sense of elegance and historical charm. The light streaming in through the windows feels soft and diffused, creating a balance between the figure’s presence and the environment. This interaction between light and architecture draws inspiration from Impressionist approaches to capturing atmospheric effects.
The figure’s pose, combined with the tranquil setting, suggests themes of self-reflection, elegance, and vulnerability. The placement of the woman on the table (an unconventional spot) adds an element of mystery or even defiance, challenging traditional notions of placement or propriety. The interplay between human presence and space feels contemplative, exploring how individuals inhabit and interact with their surroundings. The chandelier and furniture frame the human figure like an artwork within a gallery, suggesting the celebration of beauty.
This work has echoes of post-Impressionist interiors, particularly in its focus on capturing light and the interaction between the figure and the space. Artists like Pierre Bonnard or Edgar Degas explored similar themes, often placing figures in private, intimate settings. The cool palette and architectural elements may also hint at Scandinavian or Northern European influences, where light and interior space often play a dominant role in art.
While other paintings used a warm palette and a more grounded pose for the figure, this one adopts cooler tones and a more dynamic pose, suggesting motion or release. Both explore the human figure’s interaction with its environment, but this piece feels more introspective and ethereal.
This painting combines elegance and introspection with a modern expressiveness. The harmonious balance of human form, architecture, and light creates a tranquil, almost meditative atmosphere. The thoughtful use of color and brushwork gives the scene a dreamlike quality, making it a compelling piece that invites quiet reflection and emotional connection.

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One of the projects I’ve been working on in the past years is the New Mythology project. Here you can find the paintings – oil on canvas, or acrylic on canvas. You can go to Drawings for other works with the same theme.

Inspired by the mythological Greco-Roman origins, these works of art are dreamlike superimposed views of expressive and sometimes sensual figures.

Like the immortal mythological heroes, my subjects remind us of the human ability to remain beautiful and noble despite de passing of time and damage it brings.

Other Nudes

Here are the architectural works. Architectural scenes, interiors. Landscapes. Nude in interiors.