This composition, created for Termoline's office in Oradea, Romania, centers on the simple yet evocative image of three roses, each shown in a different stage of bloom. The subject is direct, but the treatment intentionally abstract. I used deep-cut silhouettes layered from Konto, an acoustic material, to form a visual language from shapes that, on their own, appear unrelated.
The contrast between the carved elements and background adds depth without relying on shading or color variation. Resolved entirely in a dark, rich red, the focus shifts to structure, proportion, and rhythm. The restrained use of visual tools was deliberate—showing that simplicity can still express complexity, emotion, and presence.
This work is less about floral decoration and more about compositional discipline—how meaning and clarity can arise through limitation, and how minimal means can still evoke something rich and alive.
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Founded in 1994, Termoline has grown into one of Romania’s most forward-thinking companies in energy-efficient building solutions. Known for its pioneering work with geothermal and hybrid heat pump systems, the company specializes in low-energy retrofits for public buildings, using radiant ceilings, heat recovery, and smart controls.
As the only Romanian participant in major European innovation projects focused on sustainable renovation, Termoline brings strong technical expertise and original thinking to every project. With a new R&D center underway in Oradea’s industrial park, the company is now developing systems that recover heat from wastewater, targeting energy independence through hybrid technologies and renewables.
Driven by research, European collaboration, and in-house development, Termoline is setting new standards for how buildings adapt to the future.
The elongated vertical format of the piece reflects its architectural context. Placed within a narrow stairwell, the artwork becomes part of the spatial experience - it reveals itself gradually as one ascends or descends the stairs. This placement enhances the composition’s layered reading: what may seem fragmented up close becomes whole when viewed from a distance or higher perspective.
A lot of pieces were made with the same thickness but different shapes. In this case, marking each one wasn’t necessary, but using the stencil proved essential. None of the pieces touch the ones around them, but the space between them is what really matters. It creates the negative space that shapes the final image, and even a small placement mistake can ruin the visual effect.
The burgundy pieces were preassembled in the workshop on two white background panels made from the same material but much thinner. The two panels were designed to fit together seamlessly. Assembly was quick. Once the lower section was fixed in place, the second one naturally fell into position.
Virgil Niiranen virgil.niiranen@gmail.com 0445535572
