"When you assume a degree of misalignment, any "negative" about the art world can become a "positive". When you're not embraced by art institutions, it's an invitation to expand elsewhere – who needs art venues when you can perform directly on a national television or in a presidential campaign – Postspectacle. If you don't like the art world you can create your own – with Alina Popa, we proposed artworks as artworlds: Unsorcery, Black Hyperbox, Clinica. You can do art openings in parks, airports, supermarkets, museums and at home – Art Opening – temporary zones of possibility, art openings at the levels of formats, contents and aesthetics. Or you can deviate from even deeper norms like those of art being object, image, sound, video, conceptual or social based – Unexperiences, Unimages, Unhere, Collapse Yoga, Love are affect based. And, maybe also because of these deviations, if there are no invitations to present in important art venues, the mentioned (un)works can appear uninvited, ignoring all the protocols and gates of access – Unofficial Unworks. Or you can abandon the idea of presentation, and just practice artworks because art shouldn't just be seen, it should be practiced, lived – Artwork. And, at the end of hope you can do art as sorcery, art that metaphysically acts on the world – Political Sorcery." (note 2023 March 17, Bucharest)

In his recent work Unexperiences, Unimages, Unhere, Love, Florin Flueras introduces in public spaces presences and states that can affect what underlies the conceptual and perceptual, what is possible to think, see and feel, interfering with the deep certainties and forms of living that make possible the current degradation of nature and society. In certain prestigious art events, these (un)works appear uninvited – Unofficial Unworks, questioning how we're following as artists the artworld's implicit codes, protocols, structures of validation, hoping to be seen, invited, appreciated. More than visual or conceptual, he sees his recent practice as affect art. In Political Sorcery he proposed an art as sorcery – art that metaphysically acts on the world – (meta)politics at the end of hope. His writing is part of his works, and his works part of his writings, Notes taken while experiencing the works are also the main form of documentation. (2016-2024)

He develops Artwork – a method that borrows from somatic, spiritual, therapeutic techniques and aesthetics but it is centered on transforming artworks into practices. Central to Artwork is the idea that artworks should be practiced – art shouldn't just be seen, it should be lived. Artwork is ambiguous – performance, therapy, exhibition, workshop, promotional event, text, artwork or a combination of these, depending on the context: art, philosophy, spirituality, therapy, education, literature. A constant is that Artwork curates and activates works in people's bodies. (2020-2024)

He proposes hybrid aesthetic situations, platform-event-artworks: Art Opening – art openings in trains, airports, supermarkets, inside other art openings; Natures, situations of art making and presenting while wild camping; Somn (sleep), co-hosted with Eliza Trefas as an art space for deep and relaxed departures, for falling asleep to artworld’s commercial, ideological, and spectacle imperatives. (2021-2024)

With Alina Popa, he created alternative art environments - complex compositions of people, concepts, sensibilities, aesthetics, processes, establishing as artworks not only products but production, research, curating, art making, forms of living – artworks as artworlds: Unsorcery,  opening the possibility for new bodies and realities through an alienation from practice through thinking and from concepts through experience. Black Hyperbox, the extension of Unsorcery forms of living to a collective. Clinica –  art spaces becoming clinics where esthetic healing and performative therapies can happen. (2012-2018)

With Ion Dumitrescu, starting from the question of how to perform in a society of spectacle, and why, he initiated Postspectacle around the practice of bringing​ the "outside spectacle" to art spaces (like inviting a military unit at the National Dance Center to do a dance workshop and a military performance based on drill with guns), and the practice of extending performance practices to the bigger stages: mass media, politics, entertainment (like trying to candidate to the presidency). (2008-2019)

His first work, Process in Progress (2005) was a durational performance in which embodied immaterial, mental processes, were “shown” in an exhibition setup, Then for a while he worked mainly in contemporary dance contexts, doing work that questioned the implicit approach of the body, as an anatomical mechanism, and developing practices that propose an affect body - “Second Body”, “Love Body”. (2005-2010)

"A sleepless night in the cave. I had the impression that I found what is the common thread in my work. Working at the edges of art. Exiting representation, "things to get real." Creating conditions for the intersection of two colliding perspectives, realities. Meetings between art and its outside. Confronting the art bubble and the life bubble. Overlapping two realities, exposing and affecting the conventions and certainties of both. Meetings that produce turbulence in reality, zones of possibility, openings. Looking at things as performance and as life, at the same time. The dynamic of two types of attention, two types of situations, two types of audience, two types of performers, two degrees of performing, two levels of reality. Creating formats that make possible meta perspectives, and open the possibility for different affects and capacities." (note 2021 October 28, Praia das Fontainhas)