Giulia Crețulescu (b. 1994) focuses on the study of design through the lenses of ergonomy, which portray the object in direct relation to the human body, as an extension of its abilities, and of how we relate with the artistic object vs the functional, day-to-day object. Ergonomics is viewed as a discipline that works in understanding and creating an object capable of turning itself into an invisible entity whose functions take over the role of mediator between humans and their actions. The invisible object becomes its functions and the ease with which we engage, as to say, the reliability of the design immerses us into its action, creating the fusion between human and machine. The imperative of functionality of design places us as users in the realm of doers, or performers of objects. The artistic object comes as a non-functional entity, a silent object that does not demand a particular approach, its addressability to the human consciousness being how it exists. Its immersion into the communicational act is not through immediate action, as in functionality, but in a direct appeal to the viewer's context of references, making it the first artificial communicational object known to humankind.

The series On Botanical Structures and Cosmic Bodies began as sketchbook drawings. The artist merged the organic shapes found in flora and fauna with the structured and flowing lines of calligraphy. This combination became a personal artistic language which she used as a way of expressing the mechanical elements frequently seen in her sculptures and installations. Giulia Crețulescu's work reaches into the viewer's perception, compelling them to identify the objects based on familiar information from everyday life. Design functions play a pivotal role in her work, as she employs the common pattern of an object, alters its familiarity, and transforms it into a silent object.

(Gia Țidorescu)