It would be easy to place Gabriel Stoian amongst the principles of the New Romanticism, discussed in the Germanic space for the first time, this classification is rather limiting in relation to the total body of his work. Gabriel Stoian’s works, that also more than often start from the observation of the most common actions or contexts, building an image that has in its code encrypted something equivocal and dual, something tense. In fact, these quasi-scientific and alarmist projections are the general context in which is were the artist’s recent works should be placed – a pressure from the outside, which leads to a practice generated by the action of slowly giving up the body, paradoxically reinventing on the way the mechanical character of everyday gestures, often performed in domestic spaces in an affective and warm alternative history as the interior of a living room, but just as valid. It is a meta-narrative in the spirit of a magic-realist novel, told by Gabriel Stoian through the painting medium for the few ones who are still clinching voluntarily to the body, protected from the bio-engineered riots connected in optic fiber that multiply behind familiar curtains.