For Lucian Popăilă, the fascination of codification has an obvious route in his art, starting with preoccupation for the fresco and finishing with the method of mapping the sign-titles (sometimes imposed by the hastiness required by the technique) which he sees as effective for the development of a visual idiom as the case of imagination or the photographic model. The conceiving of the image through the medium is something similar to the sequential strategy of some of the minimalists, with the mention that Popăilă uses it as a research tool and not as an aesthetic option. That being said, the conveyed expression in his case is a method not a style, involving progressions, permutations, rotations, inversions and modular repetitions, all with the aim of highlighting the evolution of units of visual information.
The corpus of a series is a Gestalt, a more comprehensive semantic whole than the sum of its parts, because “in mass” things stand out more easily and quickly, acquire an ideational meaning. He believes in refining of the form through progressive variations, in order to be able to reach satisfactory results and, ultimately, its comprehensiveness; this is, moreover, the key in which some of his exhibition approaches must also be regard. Even the subjects are often provided to him by the effervescence of the painting, in this sense he uses/feels the medium not only as a transmitter but also as a specific source of the message, where the juxtapositions and perpetuations of morphologies can open semantic speculations, anticipated at the moment (during the act) and subjectively exploited until exhaustion.