Anca Țintea

In her work, she follows traces left by human interaction with landscape, be it natural, industrial or imagined. Spatiality and architecture serve as main points of interest, how they structure and influence social contexts. Her practice focuses on photography, printing and installation, aiming to create a dichotomy between the technical visual apparatus and its subject, often absent or invisible.

You can follow Anca on her Instagram profile:

Q&A with Anca Țintea

When did you discover your passion for art, and what does art mean to you?

Over time, I’ve dabbled in various mediums, from writing to dance to film. I don’t think there was a specific moment; it just has never been any other way. I see art as the unique and constant way in which I can relate to and connect with the world around me.

I can consider almost anything as art, but in my practice, because it’s also a way for me to connect beyond my thoughts, I feel responsible for the subjects I choose. Especially in photography, where the camera gives the power, taking care of what I’m representing is my priority.

Describe yourself briefly: what do you like, what moves you, what angers you?

I really enjoy walking and exploring spaces. I’m interested in discovering the functions of a landscape and how it relates to the social, political, and external context it’s a part of, things that I further develop in my work. I index places for their niches and collect them through images and pins on Google Maps. I enjoy building detailed archives in this sense.

I am drawn to things that can be reduced to simple forms but remain loaded with memory. I am angered by lack of ethics in art.

Describe your artistic vision: sources of inspiration, methods, messages you want to convey to the audience.

For me, the concept of a work takes precedence over the medium. I see continuations of my ideas in entirely different media from what I’ve worked with before, even though until now I’ve kept photography and its related forms closest to me (books, prints, installations).

Just as much as I am an artist, I am a viewer and consumer. I consider it necessary and healthy to consume a variety of images, not just those presented in artistic contexts. They keep me alert and open to new ways of seeing.

A significant part of my creative process is to print everything I do, to mix, group, and recontextualize. At the end of each month, I gather and revisit the entire batch of images. In case of projects, I need to sketch out my photographs before I look or construct them, just as I imagine them.

Who has influenced you in your journey so far and how?

I have had many formative experiences, and I consider myself the sum of all the large and small interactions with people I have encountered so far. However, while I am grateful for all of them, I do not believe I have had a specific mentor who has defined my path so far.

Which of your works do you like the most, and what does it mean to you?

My projects usually begin with questions I ask myself and cannot answer immediately. If they stay with me for more than a few months, I feel the need to work towards an answer, even if it’s not a universal one, but one that helps me unearth the source it came from. Although I have no favorite work, I like to see this pattern emerging among them, even though at first glance, I view them as singular questions.

In terms of images, I like it when I find something surprising in my older photographs, which I may have dismissed at the time. I like it when I discover visual patterns I have created and unconsciously cultivated.

What has been the most joyful moment in your career so far?

Every residency or exhibition I’ve had the opportunity to participate in has brought me great joy. Currently, I am involved in two projects that are dear to me, the “Sounds like a Book” residency and the “Atelierele Scânteia” project, which I hope to continue developing successfully. Any concrete involvement in the community is valuable to me.

What are your expectations from the Accelerator Brașov program?

I’m delighted that I can engage in a dialogue with both mentors specialized in the field and artists who grapple with the same dilemmas as I do. The expectation of building a bridge between us has fortunately already been fulfilled through group meetings.

Which other artist do you admire and find inspiring, and why?

I appreciate how Thomas Sauvin uses image archives and integrates them into books. Archives often have a rather rigid status, seeking to be presented as objectively as possible. I am inspired by the variety of formats he uses, each serving a specific type of image.

What are your future plans?

I would like to experiment with other media, primarily those related to a physical, tangible dimension. Mainly, I want to expand the ways of expressing the ideas that I have. In the very distant future, I hope to maintain the same enthusiasm and openness to experimentation that I cultivate now.

Works of the Artist

in Fabulating About a Gelato Machine Exhibition