Maxim Corciova’s shapes, backed by apparently friendly materials (and why would wood and bronze be friendly?) are, at least at the first sight, very domestic, welcoming and relaxing at the same time. 

Volumes that may describe anything between a noble cup and an uterus, chairs in various shapes, serving perhaps an ancestor’s rest or a royal vocation, invented images of some ancient devices and, conclusively, an arch-boat. However, no shape is definite but “bitten” or deformed by some detailed elements, clearly adding new meanings. The importance of a detail achieved by cutting out or attaching steps which obviously originate in safety elements from peasant buildings by the Danube side leads to the artist’s philosophical space and the intelligent play of his sculptures shapes, as if they were echoes.

At the same time, the wooden shapes may tempt one into poetic interpretations (for instance the potential letters of the divided wall of the arch-boat) or images of the most exact sheep breeding activities, bronze may equally generate the joy of the eye in its strange shapes or memories from Thracian times about a history which one would guess rather than feel. The ultimate sensation is that of fully-functional natural universe with a primordial rural content however welcoming only for those who do not forget that it is essential to make an effort just as it is to initiate. A tame mistery.

Doru Mares - Art Critic - Bukarest March 2009