Sorin Bijan is undoubtedly among the most valuable graphic designers of Timisoara, and he earned his place not now, but two decades ago. Since then, each appearance of his works in gallery spaces has deepened his originality and refined his style.

His signature, which makes him immediately recognizable and which he also uses in the exhibition Mein Spiel, is the exalted human outline, ready to jump, dance, fly. Game. Repeated fervently and in an often hypnotic context, the Bijan imprint generates the mandala structure, but also vertigo, hallucinatory or phantasmagoric effects. The vortices that arise from the merging and serialization of these slightly undulating, twisted contours seem to draw you into them and make you like those who generate them. Even though they seem chained, the people in the works are, in fact, alone.

A loneliness that fades into neighboring singularities and dissipates in the movement towards the center or nowhere. In these games of his, Bijan writes – if we accept Paul Klee's perspective that writing and drawing are essentially identical – about each of us and all of us together. Beyond the memorable visual effects that the works exert on the viewers, it is basically about the human condition, otherness, seriousness, the blurring of identity, but also the saving lucidity. Do not forget that you are only human, the artist seems not to say, as the friend of Marcus Aurelius asked him to remind him of this truth whenever he went out, as emperor, on the streets of Rome, where he was applaudedby his subjects. It is not a lesson of/about humility in Bijan's works, but an invitation to turn inward and evaluate inner and outer relationships.