"It is no disciple above his teacher, nor servant above his master; it is enough the disciple be match to his teacher and the servant to his master.
(Mathew 10.24-25)

I don’t find here any ambiguity and I don’t believe this holy text has more kinds of interpretations. The truth could have more faces, as the diamond, but has only one trunk moving on a single sense, to Good.
I felt the necessity to mention this text from the Gospel, just to explain myself and my approach to icon art, especially icon on glass.
There is today, stronger than ever, a spirit haunting a lot of “teachers” preaching the emancipation from patterns. The apprentice, who should quietly study the masters, proves today an useless effort to be original, to express himself, to be unique. There is nothing wrong to seek for your own way, but it is neither bad at all if this way is that of your master. Very often, after rewards and congratulations, I was asked why I don’t have a much more personal touch. It is not easy to explain how difficult is to add something to perfection, how, as an icon painter, you may loose yourself, trying to be better than, for example, Mr. Parvu Mutu. When you understand that icon art has already reached perfection, you don’t worry about adding anything more. You just only wish to share that beauty.
I try, through my work, to preserve alive that perfect world, to continue to understand it, equally when it is about a cupboard, an icon or a bench. In order to be able to understand it, you must, of course, to study it. Definitely, when you had the chance to have under your eyes works of Timforea, Oancea, Pop, Nicula, when you have restored tens of icons, understanding what they did there, you are not tempted anymore to be original, but you just try to work like them. Mr. Bernea used to say that the Romanian peasant doesn’t think in terms of “self-exceeding”, but he simply functions, and functions well…. That is why, for instance, when the oltenian woman was weaving her own rug, she worked in the same spirit as her mother, her grandmother, her neighbour. As many weaver-women, so many versions, but in the same spirit! Exactly the same for the old icon painters! It is impossible not to feel the spirit-unity of the Romanian Peasant’s Museum, not to feel the connection between a Transylvanian tall and a Dobrogean “ghium”, or between a Vrancean puppet and a shirt from Maramures.
Through out what I am doing, I try to keep alive this spirit of beauty, to share with many people this joy of understanding a phenomenon.