Ana-Maria Irimia



I juggle a number of disciplines, creating a language to suit me. I think that music is nonetheless the place where I feel the most comfortable.

Ana-Maria Irimia – performance

A.P. Cehov – Nina’s Monologue from The Seagull
Musical production: hWeedu
Recorded at CREART / Teatrelli – April 2022
Video concept: Virgil Oprina


I’ve tried to carry out some independent projects so that I will have greater control of what I want to express.

Ana-Maria Irimia introduces herself

Recorded in April 2022


Ana-Maria Irimia


(b. 1988, Bacău)

Ana-Maria Irimia studied Acting at the Ion Luca Caragiale University of Theatre and Film, Bucharest. She has also studied Psychology at the Titu Maiorescu University, Bucharest, and, via the Erasmus Programme, at the Diderot University, Paris. with a focus on psychoanalytic studies. She went on to take an M.A. in ‘Society. Multimedia. Performance’ at the University of Bucharest’s Centre of Excellence in Image Studies, carrying out research into artistic interventions in the public space.

She explores various artistic languages, having experience in theatre, music, performance, dance, film, video art and multimedia installations.

She has performed on the independent theatre stage in Mihaela Michailov’s Bad Children, directed by Geanina Herghelegiu, and in Milk on Fire, written and directed by Radu Pocovnicu, at the Arte dell’Anima Theater in Bucharest. She has also worked with state theatres, including the Excelsior and the Ion Luca Caragiale National Theatre, Bucharest.

Musically, Ana-Maria has performed as a vocalist in blues, jazz, ragtime, Romanian folk, and bossa nova bands. She has worked with independent ambient, electronic, trip hop, and hip-hop music producers. During the pandemic, Ana-Maria began to produce her own music, exploring sounds and types of atmosphere that she completes through voice and images of urban and rural landscapes that have been digitally transformed or re-contextualized.

Sensitive and curious, Ana-Maria Irimia is constantly searching for creative contexts in which to express and integrate emotions, from the most delicate to the most conflicting. She considers that the creative act arises from necessity.