Sculptorul Ioan Grecu, artist plastic contemporan, susţine un dialog complicat şi inedit cu publicul. In creaţia sculptorului Ioan Grecu, subiectele işi au originea in căutările sale de structuri formale, dar şi in anumite idei şi ganduri ale plasticianului, astfel incat aceste structuri iau forme neaşteptate, fiind privite din diverse racursiuri conceptuale. Sculptorul apare ca un explorator nu numai a celor mai diverse tehnici, el este un cercetător subtil al firii umane, fapt care ii permite să recurgă la redarea diferitor stări psihologice in diverse ipostaze. Corpul uman reprezintă, pentru plastician, un instrument prin care el se apropie de redarea celor mai variate emoţii, trăite şi transmise la nivelul senzaţiilor. Astfel, el intuieşte cea de a patra dimensiune a imaginii: cea psihologică. Creaţia sa incepe cu replici ale unor modele clasice ale nudului. Sculptorul a trecut prin faza unor reliefuri in care linia evidenţiază volumele torsului, urmand redarea unor ipostaze ale spiritului, intruchipate in forme antropomorfe, cu elemente avimorfe şi zoomorfe. Aceste ipostaze sunt urmate de lucrările ce ţin de reflecţiile sculptorului asupra evoluţiei universului. Imaginea in creaţia sa este situată in cadrul unui conceptualism invecinat cu filozofia in care imaginea și conceptul sunt implementatate original.         

Sculptor Ioan Grecu, a contemporary artist, supports a complex and innovative dialogue with the general public. In the works of the sculptor Ion Grecu, the plots originate in his search of formal structures, but also it is in his ideas and thoughts. So these structures find unexpected shapes, being shown under various conceptual perspectives. The sculptor is not only a researcher of various techniques, also he is a subtle explorer of human nature, which helps him to convey various psychological states in various hypostases. For a sculptor the human body is a tool by means of which he approaches the transmission of various emotions, suffered and transmitted at the level of sensations. Thus, he intuitively comprehends the fourth dimension of the image as the psychological one. His creative development has begun with some replicas of classic models of nude nature. The sculptor passes through the stage of reliefs, in which the line emphasizes the volumes of torsos, followed by the reproduction of the spirit’s hypostasis, embodied in anthropomorphic forms, with aviomorphic and zoomorphic elements. This hypostasis is followed by works, which represent the sculptor’s reflections relative to the universe evolution. The image in his creativity is referring to the conceptualism, neighboring of the philosophy.