Vladlen Babcineţchi’s sculpture has sensitive dimensions which are hermeneutically analyzable according to laws as precise as those in non-Euclidean geometry. They are additional to the three geometrical dimensions by direct drawing on matter, natural agglutination of materials external to the sculpture (the honeycomb), the different polishing of interior spaces compared to exterior ones, the use of vacuum as a sign, the seventh dimension being suggested by absence, by penetration.

Along with his metaphorical discourse, which refers to an instance of spirituality that can only be grasped by means of action, the sculptor Vladlen Babcineţchi tries to capture the state of indistinguishability of matter, primordial omnipotence and therefore, his celestial “Figures” concurrently stand for the known worlds, reflecting them, launching them into space. Links between worlds, the “Sphinx” and the “Fragments of Angels” are metaphors for meditation, the intention not being to emphasize the form in order to reach the essence, but to create a form-symbol that refers to the multiple dimensions in which we exist. In the sculptural mass there is a dominant of the curve, an expression of hyperaesthetic intuition, which transcribes the undulating sensation that exists as an abstract motif in Blaga’s system of metaphysics. From creation, openness, to the consciousness of the primaeval energies, Vladlen Babcineţchi’s sculpture goes beyond symbolism of mere acknowledgement. It includes the Byzantine lesson, superimposed on Greek antiquity, filtered by the sense of being which draws its sap from the land of this country, and which, by means of his technique, universalizes a code that is not encrypted in matter, but in the eyes of each one of us.