The ecologist art is dedicated to the celebration and preservation of the natural world, biodiversity and sustainability through informative exhibitions, art seminars and knowledge in wildlife. It is devoted to promoting excellence in the portrayal of the creatures sharing our planet and to the education of the public for nature protection. The ecologist artist actively supports the organizations concerned with environmental conservation and animal welfare. Therefore, he has a common interest in art skills and nature conservancy and derives exclusive opportunities to highlight the artwork to a global audience, through exhibitions and publications of fine art. As part of the active contemporary art, growing, relevant, and high profile ecologist art seeks to generate an appreciation of and delight in the nature through all forms of fine art based on or representing the world's wildlife and takes steps to foster its protection. Nature provides us, with such an endless supply of texture, mystery, and emotion that we feel it could never be fully explored in a lifetime. It is that endless beauty and wildness that we love and try to capture. The artwork created has established new standards of artistic excellence and respect, helping animal and wildlife art to achieve a place of honor in the field of contemporary fine art.

The purpose is fostering a greater appreciation of this art genre and encouraging all forms of visual art based on or representing the world's wildlife, the animals and plants that provide the stimulus and inspiration for all such work. Ecologist art actively seeks not only to generate an enthusiasm for the natural world, but also to advance the interest, education and concern of the public in the conservation of wildlife. While this has always been an implicit objective, this is now an explicit part of the mission to look forward to expanding its reach with community, youth programs and providing even more support. Ecologist artist must be a passionate conservationist showing exemplary dedication to cause, unwavering exuberance, and commitment for the world's natural heritage. Therefore, he places great emphasis on nature, encouraging public to take an active role in the conservation of all flora, fauna and wild places. His aim is the promotion through art of protection habitats for so many important species. Ecologist artist develops a fascination and deep appreciation for wild animals and works often out of the studio. Birds, fishes and mammals dominate his artistic endeavors. This work gives many opportunities to study them on a daily basis, and to express their esthetic qualities using his artistic talents. The ecologist artwork reveals a true understanding of the biodiversity and conservation issues. The research and education results demonstrate an appreciation of the artist’s imagination and ability to express originality and genuine creativity in the work. Nevertheless, the artistic image cannot be an object without a subject. On the contrary, it is an object for the subject. So, the interest in wildlife art is cemented. By means of a system the image becomes authentically artistic when, by putting in action an ample system of references, it realizes an act of specific knowledge. Through the contributions of private art collections, we hoped to promote the cultural value of ecologist art and the need for the protection of its subjects, our fragile ecosystem and endangered species. New doors are now open to the dialog with reality. The meditations and investigations lead invariably to the research of the nature of the esthetic attitude, a premise of the artistic creation and interception. This is defined like an opening towards the impressive aspects of reality and art, perceptible by means of sensorial abilities. Unless it is correlated with the human affective and intellectual reactions, reality in itself is not true, false or touching. It only exists. Authentic or distorted, can only be its reflection in people’s mind, endowed with the capacity of contemplating satisfactorily and joyfully the anatomic beauty. Thus, the esthetic attitude is specific to the human being that does not want to understand the world, as in the philosophical or scientific one, or to transform it as in the utilitarian, esthetic or political attitude. It is in a syncretism relation with these remaining in a tight correlation with them. Its absolute autonomous status, the “estheticism”, leads to its misrepresentation and exhaustion of vigor. The definition of the esthetic attitude is made by means of psychological concepts but also by the classical triad Good - Truth – Beauty. Pure delight takes shape gradually as a primordial motivation and purpose of an important part of the artistic activity. Thus, the pure intuition, the illogical contemplation, beyond any rational-conceptual intention finds its social-human justification.

In the esthetic attitude, the creating capacity manifests however through the organization of the material on which we take action in individualities structured deliberately or spontaneously. The structural character realized through an act of composition is given by the harmony or the tension between the expressive finality and the formal liberty, the unicity and the innovating originality. The suggestive spectacular evocation expresses the capacity of communication. The preoccupation to theorize the artistic activity takes shape and substance gradually at Aristotle, the one who introduces for the first time the notions of mimesis, poiesis and catharsis later enriched by the contemporary theorists.

The imitation (in a positive psychological meaning), a dimension deeply rooted in the human behavior and inevitably in the artistic activities, interests us under the aspect of the motivational principle, a premise of that mimesis described by Aristotle. This dimension, enriched by the contribution of the creating capacities, outlined in the second constitutive principle, poiesis, a measure of the new and originality, makes possible the birth of the work of art. Poiesis is the contribution of the individual subjectivity that by the objectivity of that mimesis becomes communicable, being able to be intercepted by others, in their turn subjective individualities. The problem of the anatomic truth is analyzed since time immemorial in the sense of conformity of the creation to the real shape. In time, a theory concerning the ratio between art and truth emerges, a theory that announces even from its genesis two contrary directions: one claiming that art should seek for the truth and another asserting that, by its nature, art invents and deceives. On the one hand, the work of art appears as a faithful rendering, an objective imitation of the anatomic forms but, on the other hand, it is a subjective emotion, a recreating reflection that appeals to invention, fantasy and imagination. Art imitates and invents, being both true and untrue, faithful and unfaithful. In the theory of imitation, truth represents the sine qua non condition of art and beauty. This is the sense in which Diderot considers that the truth in nature lies at the basis of the verisimilitude in art. The imitative representation and the symbolization of the form are two constant values of art from prehistoric times up to nowadays.

Ecologist artist develops a fascination and deep appreciation for wild animals and works often out of the studio. Birds, fishes and mammals dominate his artistic endeavors. This work gives many opportunities to study them on a daily basis, and to express their esthetic qualities using his artistic talents. The esthetic qualities and value refers to reality, existence and life. It is a subjective experience of a spiritual nature but its support has another function and finality. The valorization is made on an object that is primarily of an extra-artistic nature. The capacity to impress, the representative character belong to the elements of the natural reality itself. The esthetic value accompanies the anatomic truth and together with it acts like a complementary element necessary for the achievement of the affective- notional effect. There are numerous points of convergence between the two aspects. The creating subjectivity transfigures the data of perception, understood and clarified by study, making visible and transforming life into a work of art. The esthetic qualities of the various range of animal anatomic forms is transformed into artistic value. The morphology of the artistic representation has as its purpose the elucidation of the ratio between the diversity of anatomic forms and the work of art, because of their transposition from the reality plan in the spiritual plan of culture. The artistic value refers strictly to culture. It is of an ideal structure and is based on a construction essentially spiritual. The valuable object is exclusively artistic, both in its function and in finality. The artistic value appreciates the capacity of expression of its creator.

By its specificity, the artistic value has a synthetic character, comprising within itself different types: esthetical, ethical, philosophical, cognitive, religious etc. Melted in the structure of the image, they express the unity between the autonomous and the heteronymous. Thus, the artistic value includes and supposes the maximization of the esthetic value, from where it takes its inspiration, by the perfect knowledge and the adequate interpretation of the impressions given by it. The criteria of valorization are expressiveness, the force of suggestion, the measure in which the work is representative, the concordance between intention and the formal achievement etc. It is fulfilled and lives as such only in the interception process that establishes its coordinates in space and time.

The artistic value belongs to a trend or style. According to the genre or the artistic species, it is judged by specialized criteria to be related to the artistic context. Thus, the masterpieces of humanity are placed individually on the same horizontal of time. Paradoxically, the age increases their attractiveness and poignancy. The new or the present works of art can, at the most, join them, being unable to diminish their brightness. In art, intuition occupies a place of prime order. The artist accedes to creation and the contemplator to the artistic interception thanks to the visual sensor. According to Croce, the art is intuition or expression, and in conformity with Paul Klee, the thing pursued by the artist is to make visible. The work of art is the result of a special affective mood, being the more sincere the more it represents the effervescence of the moment. It has in senses and imagination its main ways and instruments and the essential communication language.

The primordial status of the form and color, as a modality of spiritual expression, is confirmed by the transformation of anatomy from the real-organic level into the cultural-artistic-spiritual one. The understanding and the investigation of the natural forms with esthetic valences discover the wide variability of the living. The capacity of expression and the symbol transform them into art. The artistic image is concretization of author’s elaboration and conception in a certain material: color, relief, three-dimensional block, stone, bronze, wood etc. A sine qua non feature of the artistic image is its material existence. It is constituted of elements meant to stimulate the receptor’s senses. Fascinated by nature, the ecologist artist observes, portrays the wildlife and advances in the skills and techniques in all aspects of drawing, painting and sculpture. Enchanted with animals, from sketches and small field paintings, he creates a composition designed to reflect the feeling and the inherent artistry of nature, using mostly techniques that capture the immediacy of the image through the luminosity, depth, and intensity of color.

The images become artistic not only by the human reaction of the author and the contemplators of the work but also by the information it transmits to us. By means of the visual sense, an ample non-perceptive deposit, rich affective and intellectual resources are set to work in the spirit of the contemplator. The unity between the material and ideal element is in the same time the synthesis between general and individual. The signification of the artistic image is relevant only after we saw the work. Without abstracting like notion and judgment, the artistic image by means of its material existence as a unique work realizes the knowledge of relations with a character of generality.

The representation of the living in art stops on the individual. The generalizations reside only in its typicality and signification that belong both to contents and to form, raised at the rank of an essential constitutive element. The origins of the form are to be found in the endless range of world forms outside the artist, but also in his inner self, in the interior universe of the feelings and beliefs. According to Mikel Dufrenne, the agreement between the structure of the work, its artistic fulfillment and the imperatives of its correspondence with reality is related to the real, the artist and the work, in the sense that nothing of its making sounds false.

The work of art does not produce only emotion and pleasure; it contains information about the world, transmits ideas and communicates in a specific manner the truth about the surrounding nature. It is unitary, integrating synthetically the affective, the rational and the concrete-sensorial. Its interception is permanently accompanied by appreciation according to a certain scale of values. The different dosages of objectivity and subjectivity, mimesis and poiesis, real and unreal, rational and imaginary, always reveal a new original facet. The character of polyvalence and polychrome gives new nuances to the work of art and intensifies its intrinsic values.

True or verisimilar, the truth in art must also find a motivation in the domain of the feelings, the human beliefs, it must be similar to reality, to life even if it is a dream, imagine or fiction. In the art spheres, more verisimilar than truth is sometimes a dream (Lucian Blaga). The work of art, as a selective and interpretative reflection of the real world, is a corner of nature seen through one’s temperament (Emile Zola).

Sometimes the artist highlights essential and significant aspects of reality at the price of some deviations from the surface aspect, of sacrificing the small insignificant truth with a too small power of conviction. An essential side of the artistic truth refers to its existence in the plan of the unity and interior harmony of the work. The veracity of characters, forms and techniques of communication, the degree in which the specific demands of beauty are realized in the diverse modalities of creation realize the artistic fulfillment. The power of perfect blending of the contents with the form in the compositional construction assures the credibility of the work. The beauty is also a reflex of the harmonious functioning of the forms. The natural movement is an ideal that art is aiming at, by the subtlest understanding of the body forms. Leonardo considers that the representation of anatomy is easy in comparison with the achievement of the spiritual concept that must be figured through the gestures and the movement of the limbs, through the movements proper to the mental phenomena. Nowadays by means of the modern devices of studying the movement and the cinematographic and computer analysis, we can appreciate the fineness of the observation at its just value, the realism and the variety of movement representations in the great masterpieces. Although they are obviously taken from reality, they are passed through the filter of the artist’s personality, influenced in their turn by the vision and the cultural climate of the epoch.