Lives in Berlin. His painting emerges from a depth of culture where the eye alone is no longer sufficient to grasp the poetic field and the psychoanalytic depth through which the entire spiritual heritage to which we relate advances and sediment. In his case, painting is “a perfected spiritual instrument” (Bogdan Ghiu), one that constantly returns to the original moment of visuality as a mode of knowledge.

As in most of his works, Victor Man explores painting as a space in which knowledge and consciousness are in perpetual motion. Recalled and forgotten, things continually change their appearance. Never fixed, their position is constantly recalculated according to ever more complex coordinates, multiplied infinitely.