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  • Minimal Landscape exhibition

    Sometimes, my photography  is just a reaction to something that’s just happened and all the issues I address are within myself, setting scenes and stories and concluding into a sort of narrative imagery. It is like a reportage from a world that exist only in my mind. Photography is an art of observation but also a result of personal imagination. I deeply agree with Ansel Adams: “You don’t take a photograph, you make it.”

    But more then that, I use to work on photos, using the computer but also sketching and painting onto, to transform and modify the original image parameters till the image loose the photographic qualities and become more closely to painting. If Susan Sontag said that “the painter constructs, the photographer discloses”, I prefer to disclose the construction of my images.

    The camera and the computer are just the instruments that help me to reveal the unknown. When people look at my pictures I want them to feel them like reading a novel in a peaceful place, far away from the crowded and noisy city. Even if they look at it for a second I hope the viewers will find enough reasons to think about and remembering.

  • QUIMERIA Group exhibition at PHOTOTEQUE Gallery


    The Opening of  Quimeria Group / Friday 15 January / PHOTOTEQUE Gallery (Marriott Bucharest Grand Hotel). QUIMERIA GROUP is the association of 4 artists – Dan St. Andrei (photography and digital art), Ioan Medruț (sculpture), Daniel Divrician, (painting and graphic), Paul Țanicui (film directing and literature)


  • VISIONS / a new exhibition by Dan St. Andrei at Brancoveanu Palace Museum

    Far from speculating the easy effect, the photography signed by Dan St. Andrei overlaps elements of urban imaging instrumentation, managing to play, with great finesse, the complexity of our daily universe.

    Mytopia, the cycle for which I invited him to exhibit at the Palace, takes out of frame unusual networks: many shots, so many ideas, like a splendid neural scan.   

    The dance, surprised in its essential attributes, is displaying generously its dynamics, under the belief that Les mouvements sont toujours libres. Flamboyant and sumptuous, the orange is flowing in cascade from frame to frame, creating a domino effect, in which the ethereal plays its part.

    The light drizzled by clouds from Landscapes of my life, bring about the reiteration of his travels, placed in an area and in indeterminate space,  although we know the photos are made in Miami, Lisbon, Paris, Venice and Bucharest. Each image of this cycle is a bit of grace, deftly caught with one eye firmly trained and audibly.   

    His discrete, yet inquisitive Windows are just an other filters, by which Dan St. Andrei compels us to perceive his own reality, which has nothing terrible, as though he would have cut and kept only the light behind them.   Aujourd'hui c'est la dernière fois is a style exercise, recalls the long afternoons of French New Wave films, from our youth spent in proximity of ideas of Jean-Luc Godard and Francois Truffaut.

    There is nothing to do, everything is display, waiting, trailing, hunting the moment, the same way the great directors had done.   

    Visions exhibition is my boldest proposal for the space devoted to temporary exhibitions at the Palace. It's an experiment that I assume aesthetically and which I hope our audience, maybe a little conformist, will validate it.  

    Mădălina Mirea / curator /  may 2015

    Dan St. Andrei
    Dan St. Andrei is a visual artist, photographer and painter. For the moment, based in Bucharest (Romania).

    Dan work across various creative facets but mainly in art photography, graphic design and painting, he always try to be original and unexpected in his approach.

    By mixing all the elements of creativity Dan found new and exciting ways to communicate.

  • Group Therapy / Photo Editorial for Papercut Magazine


    A new Photo Editorial made at the end of last year was published in Papercut Magazine. I would like to thank to the Team, a group of beautiful and smart people: photo and art direction: Dan St. Andrei, Fashion Design: Mihaela Cretescu, Textile painting: Elena Copuzeanu, Accessories: wowandy, Make up & Hair: Andrei Jilavu, Photo assistant: Luca Vladimir Andrei, Management: Diana Mainescu, Models: Alina Petrica, Ana Costea, Raluca Rosu, Andrei Jilavu, Marian Cristea, Location: Stirbey Palace / Bucharest


    This is the presentation text: There are distances between us. I’m near, you’re there, he’s there, she’s far away, we’re close, they’re somewhere. We create distances between us, larger or smaller, and we measure distances in hours, days and nights. We run in parallel circles, our paths rarely have a chance to meet. We rely the chance of meeting only on the crowd around and come to believe that the world is small. Since there is the internet and the flight by plane has become common distances are not the same. Physical distances and made increasingly smaller. Emotional distances increased. We are far away of each other. Sometimes neighbors are so far away that we get lonely into the crowd and become unable to cross the distance between two souls, so close otherwise.


    We create unnecessary distances, where there is no need, we wanted to remove happiness and we wonder why sadness has filled our souls. I know, a smart man in modern society can not be but slightly depressed, removing distances does not guarantee happiness, but it can not be bad to try to approach each other, leaving behind fears. Being together is beautiful, let’s try a therapy group.


    And the Romanian version:

    Sunt distante intre noi. Eu sunt aproape, tu esti aici, el e acolo, ea e departe, noi suntem apropiati, ei sunt undeva. Cream distante intre noi, mai mari sau mai mici si masuram departarile in ore, zile si nopti. Alergam in cercuri paralele, rareori exista sansa ca traiectoriile noastre sa se intalneasca. Ne bazam sansa intalnirii doar pe aglomeratia din jur si ajungem sa credem ca lumea e mica. De cand exista internetul si zborul cu avionul a devenit ceva comun, distantele nu mai sunt acelasi lucru. Distantele fizice sau facut din ce in ce mai mici. Distantele emotionale au crescut. Suntem indepartati.


    Uneori aproapele e atat de departe incat ne insinguram in multime, suntem incapabili sa strabatem distanta dintre doua suflete care altminteri sunt alaturate. Cream distante inutile, acolo unde nu e nevoie, ne indepartam voit de fericire si ne miram de tristetea care ne umple sufletele. Stiu, in societatea actuala un om inteligent nu poate sa fie decat usor depresiv si indepartarea distantelor nu garanteaza fericirea, dar poate nu ar fi rau sa incercam sa ne apropiem unii de altii, lasand in urma spaimele si fricile. Apropierea e frumoasa, sa incercam o terapie de grup.

  • A new interview about my work

    Thanks Michael Corbin!


    Dan St. Andrei is a well-traveled artist who specializes in photography and painting.  His work is truly stunning and I love it.  I wanted to find out what inspires this guy who lives in Bucharest, Miami and who knows where else?

    “I want to enrich the image and bring it to my personal view of reality. I think that art is the reality filtered by the artist's mind, and for me, art is a way to express myself, to record the reactions of my personality, my thoughts, dreams and desire…”

    MICHAEL: Hey Dan, Your work looks very cinematic to me. I mean, I see lots of deep imagery and exquisite detail akin to film noir. What inspires you to create?

    DAN: Hi Michael, thanks a lot for your interest in my work. Well, I like to see the world as being beautifully imperfect and the imperfection is revealed in the human emotions and anxieties they reflect, holding a mirror to both what we reveal and what we hide within. So I try, through the art of photography, to search for the meanings and hidden motivations that put our world into motion. Perhaps the world motion is the source for the cinematic feeling of my work.

    My inspiration comes mostly from my readings, starting from Dante to Boccacio, from Marcel Proust to Emil Cioran, but it also comes from the daily routine and street happenings.  Sometimes I could say that my photographs are a report about a world that exists only in my mind, because I strongly believe that there are moments when we allow our imaginations to roam free - in which we allow ourselves to dream. Another source of inspiration is my visual cultural experience; I deeply believe that the history of art is essential for an artist to develop his skills, to start building his artistic personality. An artist must be an art history connoisseur, connected to the present and looking into the future. And last but not least, I am a big fan of movies and my favorite film directors are: Tarkovski, Fellini, Bergman, Polanski, Almodovar, Bertolucci and many others.

    Nore on Michael's website, click here!

  • Fine Art Print on the Wall

    Fine Art Photography Print for Sale
    Limited Edition (15 pieces) 100/70 cm Museum Archival Print / Lambda Print Process
    All the prints are signed, numbered, dated and come together with an Authenticity Certificate, sign by the artist.
    For more details:

  • Fine Art Print on the Wall

    Fine Art Photography Print for Sale
    Limited Edition (15 pieces) 100/70 cm Museum Archival Print / Lambda Print Process
    All the prints are signed, numbered, dated and come together with an Authenticity Certificate, sign by the artist.
    For more details:

  • "Muse Descompuse" Project

    For a little while now I’ve been interested in finding out more about muses… as in our proudly individualistic culture the relationship between the artist and his muse, once standard and then legendary, is no longer part of our common vocabulary.
    Who are the muses? Gracious goddesses – daughters of the titaness of memory, platonic ideals, models for the Holly mother portraits, virtuous or harlot women, feminine paragons, mysterious unreachable lovers, feminine valets to someone else’s imagination, complementary concepts, great understanders, poetic inventions,  much desired ghosts that sometimes come uninvited, queens of the superficial, self-muse, inner muses?
    In its earliest conception in classical Greek writings, the relationship between the artist and the muse was one of reciprocity; the woman acting as intermediary for the Gods offered the man access to memory and knowledge that he lacked. The artist would subsequently produce an autonomous text that was not about the female muse, but which celebrated her involvement in the act of creativity. Such an exchange implied a lack on the part of the man that could only be filled by a momentary loss of self-possession as he was inhabited by the power and the insight of the muse.
    During the middle ages, romantic narrative’s landscape of kings and queens, knights and ladies, heroism, bravery, destiny and magic became established in the western imagination, so the idea of romantic love has penetrated so deep into our culture that few people escape its influence before leaving the nursery.

    The romantic themes of idealisations and forbidden (or non-consumated) love were taken to new extremes in Renaissance Italy.
    Poets such as Dante and Petrarch placed their muses on elevated pedestals. Dante’s Beatrice and Petrach’s Laura are portrayed as models of perfection and purity, while later Boccaccio’s interest in his muse, Maria (Fiametta), is the perfect blend of mind, body and spiritual love.

    The idealisation of Beatrice and Laura is partly attributable to Marianism, because during the 13th century Mary became increasingly important as mediator between human beeings and God. It was to Mary that the majority prayed for divine intercession. She was more „human” and therefore approachable than all three personifications of the Holy Trinity. Moreover her position as the mother of God gave her considerable authority.
    For some time, the river of romantic literature was swollen by the tributary of Marianism. Women were worshipped with religious fervour and sexual desire was holly sublimated.

    By the Romantic age, however, the muse helped the creator to express feelings, ideas, and emotions, rather than religious and political ideas. this period, brought the idea of the freelance artist, the idea of art for art’s sake, comes about, and this signifies a major change in the conception of art, the essence of art, and what constituted art.

    The muse in her purest aspect is the feminine part of the male artist, with which he must have or not have intercourse if he is to bring into being a new work. She is the anima to his animus, except that, in a reversal of gender roles, she penetrates or inspires him and he gestates and brings forth, from the womb of the mind. Painters don’t claim muses until painting begins to take itself as seriously as poetry.

    Nowadays when our attention is assaulted by a dynamic loud media mixture, we began  unexpectedly to forget to read. We’ve starded to neglect the words writen on paper. We’re anxious and in a constant hurry, loosing the patience to read a page in a book. And with all these we began to alienate poetry out of our lives. We do not have rhyme or joining crossover exercise, we forgot the ancient hexameter or the romance lyrical note. We forgot to be dreamers and to lose ourselves in dreaming…

    Schopenhauer said poetry is the art that put in motion our imagination by the help of words. My artistic endeavor adds image to words.