I sculpted in marble the moment of metamorphosis, as described by the great poet Ovid, who lived the last years of his life in Romania at Tomis ((Constanta today), being forcibly exiled from Rome in the year 8 AD and was buried approx. 9 years later in the same locality. .
. The moral of my sculpture: eternal beauty, found exclusively in art.
I sculpted the moment of the metamorphosis, setting in motion Galatea’s silhouette, abandoning the eternal condition in favor of the perishable.
Detachment of the statue to awakening to life leaving the body in the negative, revealing the sequence of movement from the right position of the statue to the downward position on the pedestal, both in front and behind the sculpture. I gave the free spaces meanings of stihii and centrifugal coverage, to suggest movement, with the appearance of a disorder assumed to contradict the static attitude of classicism, while the naked silhouette of Galatea benefits from retained details vaguely reminiscent of the classical manner.
At the top of the sculpture, in front, I carved the negative mark of the hand of the goddess Aphrodite that gave life to the statue. The features of Galatea's face are vague, without details.
I simply sculpted Pygmalion, without clothing details, I gave importance to the position of the body, after long hesitations between several variants and the facial expression is amazement and wonder for the miracle that took place. His face is slightly caricatured, expressive, specific to the contemporary style.
Here, as in other sculptures, we followed the principle that while painting is a play of shadow and light, sculpture is a tandem between full and empty in which light plays.