At the beginning of the twenty-first century, the borders between the various kinds of artistic expression become blurred, making room for the advent of an ever more clearly contoured new species, that of the “hybrid” or “total” (all-round) artist. The latter is at the same time creator and performer, musician, visual artist, dancer, and stage director, and creates works that are almost impossible to break down into component parts. In the autochthonous context, Irinel Anghel embraces this non-disciplinarily and this creation with dissolved borders, which she considers to be experience-art: she never repeats her projects; she is not interested in trodden directions, already accepted solutions, artistic fashions or intellectual and emotional comfort. She does not strive to please at any cost, but, acknowledging her role of radar-artist, unafraid of the form of artistic disturbance or irony-art, through apparent unbalances she restores the cultural balance of the moment
