Differently from the majority of creators who, during the process of growing older, are only consolidating an image that is already built, Mihail (Micky) Trifan has the restlessness of revitalizing every new project with each brainwave. His works are blatantly individualised by an untiring rush of creativity, while his live performance, periodically complementing the display, has already become the artist’s mark. This perpetual reinvention destabilises every attempt to fix him in a theoretical framework, and his exhibitions can be seen, in the most honest way, as a result of a personal victory to express his vitality and need to signally live artistically. His real life merges with the artistic one, with no trace of simulacrum. In a controversial and rigid world, where concepts such as freedom or art fall under regulations, Micky can be considered one of the last unconfined artists.
After a long period of experiments and interior growth, the artist is living his manhood with a fervency that can be perceived as anarchy by this contemporary society, often captive in an illusory form of independence. It is an explosion and, at the same time, a reaction against any limiting convention. From this perspective, Staying alive is, essentially, a new clear and strong shout which signals the author’s joy of living and evolving in a rough way, according to his own wishes. Trying to conceptualise his projects by framing them in social, moral or even in aesthetic theories means to drain them from the essence itself, the freedom.