[2] "...As a starting point for the understanding of the artist's repertory of shapes, I would suggest two monuments: Monument to Ion Dumeniuc, The Guarding Angel (stone, 1995, Central Orthodox Cemetery, Chișinău) and Mihai Eminescu (bronze, 1996, square of the "Mihai Eminescu" National Theatre), both of them representing visual arguments of a precise spiritual and historical identity.

...for the monument to Mihai Eminescu, Tudor Cataraga selects only abstract principles, imagining a "cosmic" portrait of the national genius.

Far more modern in visual expression, the sculptor is now free to play with three-dimensional elements and he conceives a rhythmical network that concentrates in the poet's figure /symbolic nucleus, without stirring the space, but comprimating.

Tenacious in his research leading him from deductive to inductive thinking, without any disruption from his way, the sculptor's interest is gradually sliding to architectural constructions, and constructivism.

Tudor Cataraga, in his full artistic maturity, has the energy and the firm gesture of an inquisitive and attentive sculptor".