The forms that Mihail Trifan's creation takes, from traditional ones (painting on canvas) to avant-garde ones (assemblage, performance), show that at their base there is a solid, coherent artistic project freed from the norms of predictable, canonical expressiveness , academic.

Mihail Trifan is fundamentally a creator, but not one who reinvents form, but one who works on syntax. First, it actively recalls Kurt Schwitters' demonstration that any found or manufactured object has artistic potential if selected by the artist. So, artistic recycling does not suppress the identity of the object by reducing it to raw material, but adds a new layer of meaning, the object being saved by aestheticizing it, by transforming it into a subject of contemplation, which leaves behind its utilitarian nature and, with it , own history, symbolically reconstructing itself as a purely plastic motif with archetypal value.

Just as a director builds a compressed reality on the stage of the theater, but sufficient for the story he wants to tell, so Mihail Trifan rearranges the modules of the immediate reality to convey his own fable, whose moral is, ultimately, that of saving the world through art.