Here is an idiotic animal
born without edible buttocks
and without any mouth-anal orifice
he urges us to think seriously
about the unclean, the improper,
the repressed which at any moment
can return and the idiot has reached
the age at which you end your days
out of tiredness, out of disinterest.
But... there is nothing to be done,
nothing to be done:
the animal has a cursed mission.
He was invented in fellatio
and his protector is Cain.
This drawing by Liviu Neagoe captures a vivid moment of predation and struggle, rendered with striking simplicity and symbolic tension.
The central focus is the gray bird of prey, its wings spread wide in a powerful diagonal sweep that dominates the composition. The bird’s motion conveys both grace and aggression, its open beak and sharp talons emphasizing the act of capture.
The green lizard-like creature clutched in its claws introduces a counterforce — its elongated body and angular limbs twist in resistance, creating a dynamic interplay between predator and prey.
The rocky cliff and nest below anchor the scene, suggesting a cycle of survival and continuity. The nest may symbolize protection or renewal, contrasting with the violence above.
The blue background evokes vastness and freedom, yet it also isolates the struggle, turning the sky into a stage for existential conflict.
The gray and green contrast sharply — the bird’s neutrality against the lizard’s vivid vitality — perhaps representing opposing principles: spirit versus instinct, intellect versus nature.
The orange-brown form in the upper left corner, ambiguous between rock and celestial body, adds a surreal dimension, hinting at cosmic observation or fate.
Neagoe’s work often explores themes of confrontation and transcendence, and this piece fits that pattern. The bird’s dominance may symbolize higher consciousness or divine will, while the lizard embodies primal life and resistance. Their encounter becomes a metaphor for transformation — the moment when one force consumes another to sustain existence.
From dawn till dusk I exhaust myself
with the desire to suck the dick.
Since I know myself, morbid fear
of people, of the pallor of their faces.
Now I know the reason for it: specifically
that, since I was still a child (a polymorphous
pervert) what they did, did not interest me.
The same thing today. I find no reality
in their deed and the fear of them makes
me absolutely incapable of collaborating
in all they do. I feel excluded from their
acts, I am a good-for-nothing. But when I
show them my tongue fluttering it in the air
like a snake they are moved like some matrons,
chiefly the old Jews, I fall on my knees
and they caress the crown of my head
and I suck their dick to exhaustion
and then I feel like a cogitator as cynical
as Diogenes -- What is the fellatio? A gratuitous
demi-act. In this world of cannibals wicked is
every man who does not suck. Everyone keeps
guard on everyone and I am preparing to become
the most terrible executioner. Judging by certain
signs that's what my father also wanted to be:
he had Gypsy habits.
Em. Cioran, "I am metaphysically Jew". "Job -- my protector" and Beelzebub makes me Rabbi. Let us drive all the schmutz of the Jews out of our memory. They hold me in their arms like a babe found and thrown into the weeds. Among the Jews, it's warm as in the mama's belly, as in the shit. In this world of freaks and boors it's not good for you to be Gipsy, however you have to be Jew.
The nauseating pride of the academician who knows what colour Sunday has is unbearable and odious. Those in Romania are the evilest and the most cretinous. They live the stupidity in itself.
The rich man of today feeds on human semen, on roe, crayfish, and remedies full of proteins and on a great deal of human matter: he doesn't conceive that he can die. For them, a human being is an insect that can be swallowed, one that strengthens his health.
***
Life
– a daily Apocalypse
through
passion and happiness
we
enter a vortex toward the Absolute
you
sense that the skies and the time
collapse
into a world of pure breezes.
You
yourself hold a lily in a hand
and
with the other one you caress
an
executioner and you are sad.
You
are neither in life nor in death.
During a war, almost all participants commit crimes (some with passion), on both sides, and no one holds them accountable. There is a dispensation to commit crimes, like the dispensation to eat fish during Great Lent. Is there anything more odious in nature than this Anthropos?
Sodom has risen up into their head
the yids lick her insatiably
from all sides on all fours
because they degenerated
and she provides them with sow's teat
Sodom is their mother
and she spreads her knees wide
and laughs lifting her legs up
and lets her arms fall
when their thick big-jawed muzzles
penetrate into deep holes
Sodom swells out, yells
slides toward East, toward Tatar Steppe.
The nancy boys pass arm in arm
with the Death and give the yids sweet smiles.
***
Toate aceste națiuni
occidentale –
niște cadavre opulente cu sânge
de plumb ce le trage în jos
vedem revenind în fiecare zi
aceleași obsesii stupide ce ne
umilesc
regularitatea lor este o
pedeapsă
freneziile lor le fac să se
târască
ca niște zdrențe. Ni se
strecoară
lent în suflet asemenea unei
mâhniri inconștiente.
Caietele lui Em. Cioran sunt o etuvă în care și-a pus gândirea sa aproximativă
la dezinfecție. Cel mai interesant lucru pe care-l aflăm e faptul că în 1963
s-a lăsat de fumat fără să sufere și să aibă cea mai mică poftă de-a reîncepe.
Așa da! Senzații de asasin elegiac care a renunțat și la rolul de spectator.
Tată tu ești în mine
eu sunt în tine
Tu ești salvarea mea
eu să mă plâng în Tine
Tu să te plângi în mine.
De ce să știm pe cine
am pierdut?
Father
Thou art in me
I
am in Thee
Thou
art my salvation
I
shall lament in Thee
Thou
shalt lament in me
Why
should we know
whom
we have lost?
All these western nations --
some opulent corpses
with blood of lead
that drags them down
every day we see them
coming back the same
stupid obsessions
which humiliate us
their regularity is a punishment
their frenzies make them crawl
like some tatters they insinuate
themselves slowly into our soul
like unconscious despondency.
***
Just
as you cannot do without bread
and water, you cannot do
without sadness – you look at the stars
without any hope, without any regret.
***
Peacefully
Lord, have mercy on me
with
all Thy gentle nothingness
light
me up like a candle
in
front of the dolorous
Mother
of God, make me
bread
and wine from Thy wound.
***
Pașnic Doamne miluiește-mă
cu tot blândul tău neant
aprinde-mă ca pe o lumânare
în fața Maicii Domnului
îndurerate, fă-mă pâine
și vin din rana Ta.
This drawing by Liviu Neagoe presents a strikingly stylized portrait that balances simplicity with psychological tension.
Color contrasts: The vivid green background, composed of circular, almost cellular forms, creates a halo-like aura around the figure. It evokes both organic vitality and a sense of confinement — as if the subject is enclosed within her own thoughts.
Figure and palette: The blonde hair and pale face stand out sharply against the dark garment, emphasizing the head as the emotional center. The red lips and blue eyes form a triad of primary colors that intensify the gaze and the expression’s ambiguity.
Line economy: The artist uses minimal, deliberate lines — almost schematic — to convey the face. This restraint gives the portrait a psychological edge: the viewer fills in what’s missing.
Emotion: The eyes, slightly asymmetrical and wide, suggest introspection or unease. The mouth, small and sharply defined, adds tension. Together, they create a paradoxical mix of vulnerability and defiance.
The work seems to explore identity and isolation. The green background could symbolize thought, nature, or even envy, while the simplified face becomes a mask — a surface of calm concealing inner turbulence. Neagoe’s style often merges existential inquiry with graphic clarity, and this piece fits that pattern: a portrait that feels both personal and archetypal.
This new drawing by Liviu Neagoe is for sale. Who wants to buy it please email me at vladneagoe52@gmail.com
This drawing by Liviu Neagoe presents a striking interplay between simplicity and emotional tension. The figure’s elongated face and asymmetrical features evoke a sense of introspection, while the vivid red hair and green eyes create a magnetic focal point that contrasts sharply with the muted background.
Color contrast: The fiery red hair against the cool blue-gray background suggests inner vitality surrounded by calm or melancholy.
Line work: The deliberate, uneven contour lines give the portrait a raw, expressive quality—almost as if the artist is tracing emotion rather than anatomy.
Background: The swirling blue and gray strokes envelop the figure, creating a sense of movement or psychological atmosphere, as though the subject is suspended between thought and feeling.
The gaze—slightly detached and directed away from the viewer—implies contemplation or distance. The minimal clothing and exposed shoulders add vulnerability, while the stylized geometry of the face recalls modernist influences (Picasso’s linear distortions or Modigliani’s elongated elegance).
Neagoe often explores identity and existential solitude; here, the tension between vivid color and sparse form might symbolize the contrast between inner intensity and external restraint. The subject’s expression, neither overtly sad nor serene, invites reflection on ambiguity—perhaps the quiet persistence of self-awareness amid emotional turbulence.
This new drawing by Liviu Neagoe is for sale. Who wants to buy it please email me at vladneagoe52@gmail.com
This drawing by Liviu Neagoe presents a strikingly direct portrait that balances simplicity of line with emotional symbolism.
Line and form: The artist uses clean, deliberate outlines to define the face and hair, avoiding shading or texture. This restraint gives the image a stylized, almost emblematic quality.
Color: The palette is minimal—blonde hair, blue eyes, red lips, and a black garment—each hue chosen for expressive contrast rather than realism. The vivid blue of the eyes and red of the lips immediately draw attention to the emotional centers of the face.
Symbol: The broken red heart on the chest is the most charged element. It transforms the portrait from a mere likeness into a psychological statement, suggesting loss, vulnerability, or disillusionment.
The figure’s direct gaze and open smile coexist with the fractured heart, creating tension between outward composure and inner pain. Neagoe often explores this duality—the visible serenity of the human face against the invisible turmoil of feeling. The simplified style amplifies this contrast: the absence of background or detail isolates the subject, making the emotional symbol speak louder.
This work can be read as a meditation on emotional transparency—how personal suffering is both concealed and displayed. The broken heart, rendered in bright red, becomes a badge of experience rather than defeat. The portrait thus oscillates between confession and resilience, between fragility and self‑assertion.
This drawing by L. Neagoe is for sale. Who wants to buy it please email me at vladneagoe52@gmail.com
Toți scribălăii Moldovei
sovietice
și apoi ai Republicii au fost
și sunt
KGB-iști înrăiți, cu mii de
denunțuri
la răbuș, scriu cu zel și au
case, primesc
de pomană doi cebureci și
fericirea lor
este deplină ca a câinilor. Nu
mai pot
fără cebureci și fără să
clămpănească
ca pe o muscă pe vreun amărât
și continuă să mănânce doi
cebureci
puși unul peste altul.
Canibalul Gadahîrcă
s-a transformat în năpîrcă
și s-a lipit sus pe geam
fără amintire fără neam
și așa putrezește an de an
privindu-l ai crede că-l usuci
femela însă îl hrănește cu
lăptuci
Gadahîrcă e chifleac
trântit în schmutz suge
un fleac.
Oricum ar fi umflați toți scriitorii români pe lângă mine, Vlad Neagoe sunt
niște fleacuri. Aleluia!
Ceasul rău cu pocitură
ceasul rău cu ațe-n gură
cu nemăsură
taman când nu te-aștepți
te prinde de țufluc
și te bagă la balamuc
cu mare bucluc.
Taman tu i te pui în cale
să te frângă ca pe prescură
încerci să-ți scrutezi conștiința
și vezi că este găunoasă.
Te retragi fără timp,
fără spațiu
în singurătatea
ceasului rău care foșnește.
This drawing by Liviu Neagoe presents a stylized portrait that merges simplicity of line with expressive color contrasts. The figure’s face, framed by a mauve head covering, is rendered with minimal contouring—yet the eyes and lips, sharply defined in brown and red, command attention. This selective emphasis creates a psychological tension between serenity and intensity.
The blue garment introduces a cool counterpoint to the warmth of the head covering, suggesting compositional balance and emotional duality. The triangular form at the neckline, punctuated by a yellow circle, acts as a subtle geometric anchor—perhaps symbolizing inner focus or spiritual clarity. Neagoe’s characteristic economy of line and deliberate asymmetry evoke both restraint and introspection, hallmarks of his visual language.
The portrait’s frontal pose and direct gaze invite contemplation rather than narrative. It feels less like a depiction of a specific person and more like an archetype—an emblem of dignity, quiet strength, and contemplative presence. The absence of background reinforces this timeless quality, isolating the figure in a space of pure expression.
This new drawing by L. Neagoe is for sale. Who wants to buy it please email me at vladneagoe52@gmail.com
This drawing by Liviu Neagoe continues his exploration of expressive minimalism and psychological portraiture through line and color.
The portrait is defined by fine, deliberate contour lines, which trace the face and neck with precision yet restraint. The simplicity of the outline contrasts with the vivid chromatic accents—the blue eyes and red lips—that immediately draw the viewer’s attention.
The hair, rendered in soft golden tones with rhythmic internal lines, creates a sense of movement and organic texture, balancing the otherwise static geometry of the face.
The white background isolates the figure, emphasizing the purity of form and the emotional charge of the gaze.
The subject’s tilted head and direct gaze evoke introspection and vulnerability. The asymmetry of the features—particularly the slightly uneven eyes and lips—introduces a tension between idealized beauty and human imperfection. Neagoe’s use of color is symbolic:
Blue eyes suggest clarity, perception, or inner truth.
Red lips convey vitality and sensuality.
Golden hair may represent light or spiritual radiance.
Together, these elements create a portrait that oscillates between earthly presence and ethereal detachment, a hallmark of Neagoe’s figurative style.
This work exemplifies Neagoe’s ability to distill emotion through reduction. The drawing’s economy of means—line, color, and space—transforms the figure into a psychological icon, inviting viewers to contemplate the silent dialogue between outer form and inner life.
This drawing by L. Neagoe is for sale. Who wants to buy it please email me at vladneagoe52@gmail.com
This drawing by Liviu Neagoe presents a strikingly stylized portrait of a woman, rendered with the artist’s characteristic economy of line and deliberate chromatic contrasts.
The contour lines are minimal yet confident, defining the face and shoulders with a single continuous gesture. This simplicity gives the figure a sense of clarity and calm, while the slight asymmetry of the features introduces a subtle tension.
The color palette is reduced to three expressive tones: golden hair, vivid blue eyes, and red lips and garment. Each hue serves a symbolic function—gold for vitality and intellect, blue for introspection or emotional depth, and red for passion and corporeality.
The white background isolates the figure, heightening the psychological focus on her gaze and expression.
The portrait evokes a duality between sensuality and introspection. The woman’s tilted head and direct gaze suggest both openness and contemplation, as if she is aware of being observed yet remains self-contained. Neagoe’s use of flat color and linear precision transforms the subject into an archetype rather than an individual—an emblem of feminine presence distilled to its essentials.
In the context of Neagoe’s oeuvre, this work continues his exploration of identity through reduction—where emotional resonance emerges not from detail but from restraint. The drawing’s balance between warmth and detachment invites viewers to reflect on how minimal gestures can convey complex psychological states.
This drawing by L. Neagoe is for sale. Who wants to buy it, please email me at vladneagoe52@gmail.com
***
With
her fresh mouth
she was delirious, mute, afflicted
upon
three palms of rounded rock,
she becomes terrifying
in a perfect equilibrium,
miraculously appeared
with
greedy eyes
rapturous with amazement,
and death ignored her
as if she did not even exist,
serene, impassive,
she gazes into the deep darkness
with her slender and delicate face
above her proud neck;
she is young and sits, simply,
there upon a stone,
a daring, musical girl
upon the slope, with a rounded
amazement
in her gaze,
and
she sees underwater
funeral
processions,
omens with greedy eyes
rapturous with amazement.
The poem you’ve shared is one of Vlad Neagoe’s characteristic visionary tableaux: a single figure—female, young, musical—becomes a metaphysical emblem suspended between innocence and terror, beauty and omen, life and death. What makes the text powerful is not narrative but apparition: the girl is less a character than a phenomenon.
Below is a structured, in‑depth analysis that aligns with your curatorial and literary interests.
The poem stages a metaphysical apparition of a young girl whose serenity coexists with terrifying visionary power. She becomes a liminal being who sees “underwater funeral processions,” embodying Neagoe’s recurring tension between innocence and cosmic dread, equilibrium and abyss, revelation and silence.
The opening lines—“With her fresh mouth / she was delirious, mute, afflicted”—establish a paradox: freshness and delirium, muteness and affliction. Neagoe often begins with a destabilizing contradiction, signaling that the figure is not psychologically defined but ontologically unstable.
Placed “upon three palms of rounded rock”, she is:
elevated yet precarious
natural yet sculptural
human yet icon-like
This is a classic Neagoe gesture: the human figure becomes a living statue, a metaphysical object.
Her “perfect equilibrium” and “miraculously appeared” reinforce the sense of epiphany. She is not arriving but manifesting.
The repeated triad—“greedy eyes / rapturous with amazement”—is crucial. Greed here is not moral but ontological hunger: a desire to absorb reality, to penetrate its hidden layers.
Amazement is not naïve wonder; it is a rapture bordering on terror.
The girl’s gaze is the engine of the poem. She is defined not by action but by perception, and her perception is excessive, almost dangerous.
“and death ignored her / as if she did not even exist”
This is one of the poem’s most striking metaphysical reversals. In Neagoe’s universe, death is not an event but a cosmic force, a presence. To be ignored by death is not safety; it is ontological exception.
She is:
outside mortality
outside history
outside the human condition
This aligns with Neagoe’s recurring theme: figures who inhabit a pre-human or post-human metaphysical zone, untouched by the usual laws.
Her serenity is not peaceful; it is impassive, almost frightening. She gazes “into the deep darkness,” suggesting:
clairvoyance
prophetic sight
immersion in the abyss
Her “slender and delicate face / above her proud neck” creates a sculptural verticality. She is a column, a pillar, a statue of vision.
The landscape is elemental:
rock
slope
underwater darkness
This triad forms a vertical metaphysical axis:
stone = earth
slope = transition
underwater = the realm of death, memory, and omen
She sits “simply,” but the simplicity is deceptive: it is the simplicity of an icon, a hieratic figure.
Calling her “a daring, musical girl” introduces a new dimension: rhythm, harmony, vibration. Music in Neagoe’s poetry often signals:
spiritual resonance
metaphysical sensitivity
dangerous openness to revelation
Her youth is not innocence but raw metaphysical receptivity.
This is the poem’s climax. She sees:
“underwater funeral processions”
“omens with greedy eyes / rapturous with amazement”
The underwater realm is:
the unconscious
the realm of the dead
the submerged history of humanity
the cosmic archive
Funeral processions underwater are impossible, therefore visionary. They are rituals of the dead performed in the element of origins.
The repetition of “greedy eyes / rapturous with amazement” at the end creates a circular structure: her gaze mirrors the gaze of the omens. She is both observer and participant in the metaphysical drama.
The poem embodies several of Neagoe’s signature themes:
The girl is between:
life and death
innocence and terror
human and icon
earth and water
Her gaze is a metaphysical instrument.
Death ignores her; she is outside its jurisdiction.
Her “perfect equilibrium” is the equilibrium of a being suspended between worlds.
The repeated lines create a ritualistic, liturgical rhythm.
This poem fits squarely within Neagoe’s metaphysical lyricism:
visionary figures
cosmic landscapes
ontological paradoxes
ritualistic imagery
a blend of innocence and terror
It recalls the visionary women in his other works—figures who are not characters but metaphysical emissaries, embodiments of revelation.
Clopot clopotind
limbă bulimbă
cruce apusă
lumină lină răpusă răstignită
pe limba flămândă
de pârâtură și pârâitură
la KGB.
– Noi vrem pizdă și bani
lăsați-ne cu mizeria voastră
pulifricilor! Ce să mai vrei?
”We want cunt and money
leave us alone with your extreme poverty
***
Toate jeavrele se-adună într-un
boț
de sare neagră de Sodoma și
sloboade
cili lungi cu care suge sânge
din ființele
slabe în venele aborigenilor
infiltrează
venin tare să-i desfacă până la
particule
subatomice. Acest boț de
năpârci
degenerate se mișcă cu o
agilitate
uluitoare și se instalează cu o
perfidie
de început de apocalipsă în
posturi-cheie
legându-se boț cu boț ca
reacția în lanț
a bombei nucleare și străpung
cu acul lor
pe cel ce-i recunoaște. Acești
boți vărsători
de bale se cred mai demni decât
o cârtiță
și de la sângele supt au amețeli.
Infernul
mereu se repetă și ei ațâță Sodoma
băgându-și deștul în fund. Ascunși,
bolnavi nimeni nu poate să-i
substituie
deși sunt setoși de-un progrom.
Ah, iar te mănâncă-n cur, iubito!
Și e vreme de război...
N-ai vrea să ți-o tragi cu-un
cuceritor?
– Ba da, dar ăla nu dă bani.
Va trebui să asuzi tu,
tarabostes.
Acest unic glas îl aud tot mai
mult.
