Aricescu 2018, painted plaster – This bas-relief visually captures a morning at the coffee shop where Cristian Frone worked for five years. Through layered textures and subtle gestures, the piece evokes the quiet rituals of opening, the rhythm of steaming milk, the clinking of cups, and the fleeting connections between barista and customer. It stands as both a personal memory and a reflection on the intimacy of everyday labor.

Neagu 2019, 40 x 20 cm, plaster — This plaster portrait pays homage to Neagu Djuvara, the Romanian historian, diplomat, and philosopher.

Sketch 2019, 15 x 8 cm, bronze — This sketch features a stylized silhouette resembling a ladder. The work reflects on the body as a framework for transformation — where identity is fragmented yet constantly ascending. Reduced to its essence, the human figure becomes a vertical path, a metaphor for effort, growth, and existential fragility

Omida 2019, 100 x 15 cm — Inspired by George Apostu’s *Butterflies*, this wooden sculpture depicts a caterpillar — a symbol of transformation and becoming. Through deep cuts and incisions, the artist pushed the material to its structural limit, creating a one-meter-long zigzag form. The resulting fragility expresses the tension between inner force and the instability of evolving shapes.

The Well 2020, 30 x 25 cm — This bronze piece revisits an enigmatic detail from my childhood: a narrow slot with a wheel, a place that remains vivid in my memory as a space of mystery and fascination. Cristian never fully understood its function, but that very ambiguity fed his imagination as a child.

He sought to preserve that quiet sense of wonder and tension — a seemingly ordinary place that, through a child’s eyes, becomes a gateway to another world, through a two-dimensional composition. This sculpture is about memory and the way he returns, through art, to the small spaces that once held great meaning for him.

With this piece, he began a series of two-dimensional works inspired by domestic scenes and motifs drawn from the rural life of his home village, Greceanca.

The Hill 2020, 80 x 40 cm, bronze — continues his series of two-dimensional works exploring rural life and personal memory. This piece reconstructs the path he used to walk as a child on the way to the fields — a familiar route that has become symbolic over time. Along this path, people shaped their lives through agricultural labor — seemingly repetitive, yet rich in meaning and belonging.

Through a simplified, frontal composition, the artist aimed to express not only the physical effort of working the land but also the deeper cycle embedded in this connection —people cultivate the earth, live from it, and eventually return to it. The work is both a tribute to the quiet resilience of rural existence and a meditation on transience and continuity.

Turtledoves, 60 x 40 cm, bronze — This bronze sculpture revisits a childhood memory: the quiet image of turtledoves perched on a wire. Rendered in a simplified and almost symbolic manner, the work captures a moment of stillness and nostalgia — an echo of summer afternoons in the village, where such small details became part of the rhythm of daily life.

Big boy 2020, 180 x 60 cm, painted wood — In this piece,  a child is portrayed sitting on a chair with his arms raised — an innocent and hopeful gesture, trying to appear taller, to "grow up." Cristian wanted to capture that pure, instinctive desire from childhood to reach the world of adults through a simple yet symbolically charged movement.

The composition preserves that suspended moment between play and aspiration, between reality and projection. It is a quiet meditation on becoming— on the dreams that take shape early in life and sometimes stay with us forever.

In Bay Horse 2020, 110 x 70 cm, painted wood — the sculptor depicted a child sitting backwards on a horse, a gesture that symbolizes an ongoing journey, yet with a constant gaze toward the homeland. The horse, traditionally associated with travel and movement, becomes a vehicle of time, while the child finds himself in a duality: moving toward the unknown, yet always looking back to his origins.

Through this piece, he reflects on the lasting connection to one’s roots and how, no matter the path one takes, they are always shaped by the places that formed them. It is a symbol of seeking, yet also of belonging—of both the inner and outer journey.

The Prophet 2022, 30 x 25 cm, salt — the creator used salt as the primary material, melting it and casting it into a mold to create a portrait. This portrait was then taken to the sheep, symbolically transforming it into a prophet. He identifies with this idea because my travels, which have taken me to many places, have been a search for wisdom and understanding.

Salt, an ephemeral material, adds a layer of transformation and fragility, while the portrait, caught in this process of metamorphosis, reflects the ongoing journey of change in his life. Each step of creating this work symbolises the continuous evolution of a traveler.

2022 — In the environment Cristian Frone comes from, he was often told that one cannot make bread from art — so he chose to do the opposite: he brought art into bread. After working for two years in a bronze foundry, he realized that what truly attracted him was the fragility and transience of art. This insight led to a series of experiments using bread dough as a form of edible sculpture.

By its very nature, bread dough is ephemeral and temporary. The works created from it transform over time, becoming reflections of fragility. Through this series, Frone aimed to highlight how fragility can be a form of beauty, and how art can be translated into everyday, transient materials — giving birth to creations full of meaning.

In Kind of Agora, 210 x 100 cm, ceramic — In this work, the artist combined ceramic techniques with performative practice, reinterpreting a contemporary Diogenes. He chose to let go of the object itself and instead create a more direct, participatory interaction with the audience. Friends and participants were invited to take a fragment from the broken amphora, each receiving a personal memento.

During the creation of the amphora, the artist’s greatest fear was that it might break. That very fear became the conceptual seed of the piece: the act of intentionally breaking it. His initial plan was to hide inside the amphora throughout the exhibition and interact with viewers using only sound. However, he ultimately realized that shattering the vessel would result in a more honest and impactful encounter — bringing the essence of the work into direct contact with the people.

Cynic philosophy deeply resonated with the artist, as it reflected the values and circumstances of the environment he grew up in. This work is a reflection of that philosophical influence and a meditation on the tension between vulnerability, detachment, and human connection.