Titus Blaj always uses the “active line” that gives expressiveness and compositional force to his paintings.
The line is searched in all directions, sometimes limited, so that afterwards it turns into circles or areas which separate the hard surfaces from the floating surfaces. He searches the curve that gives more beauty and expressiveness than the straight line. That line is directed to slip from the active zone to the passive zone and vice versa and to pass through different temperamental stages, preceding the surface line and the color line.
These alternations of lines and color spaces draw a mysterious and strange fact that makes the painting to be an authentic, truly painting which denotes breath, energy, dissolution, loneliness retrieval and fulfillness.
Entering this space, the viewer follows a labyrinthic route, putting himself in a position to always discover new meanings, possibly reflected in a primordiality of Pre-Creation.
The painter relies on the multiplicity of the meanings, placing them alongside the image or the idea, by emphasizing the meanings, especially in a space with archetypal forms completed with romance, fiction and illusion.