Graduated in 1976 from the "Nicolae Grigorescu" Institute Of Fine Arts, Bucharest, the department of Textile Design and Textile Arts, he lived and worked in Bucharest and lasi. The neo-Dada character that Constantin Petraschievici represents in Romanian art is outlined both by his objects and by his deliberately marginal position.

The Romanian generation of the 80's in general dwells under the star of conjectural but also self-declared marginality, through the option for new media and themes concerned with the dull reality, through the counteraction of exhibitions. In the case of Petraschievici, however, there was an almost congenital incapacity of adapting even to the rigors of a dissidence, of punctually conforming himself even to the most nonconformist exhibitions. On the contrary, like the poet Nichita Stanescu, he offered his works to his friends, accompanied by red cards with brief comic captions, resembling the texts of the Romanian Dadaist author Urmuz. The menu from such a card contains "kanafeh with frankincense and wood lice (bed bugs), Spanish GIL BLAS-pinworm comfiture, lice pancakes" (catalogue-poster for the retrospective exhibition Constantin Petraschievici, 2004). Prone to irony, playfulness, improvisation, Petraschievici resorts to threads, textiles, pieces of fabric, which he engages not into the super-sized parietal tapestry, more or less dictated by the political regime, common for the Romanian tapestry of the 70's (Serbana Drägoescu, lon Stendl, Mimi Podeanu), but into creating colorful miniatures.

The parietal tapestry is present in his work only in sketches. Borrowing infusions from the surrealist figurines of Jules Perahim and from licentious interwar caricature, Petraschievici reinterprets the traditional media of textiles into household items or botanic shapes, brimming with innuendos, resulted from a rich variety of fabrics. He thusly produces shish kebab from velvet and thick felt, a mug from knitted English red wool; sun-dried tobacco from starched brocade and wool; root vegetables from textiles, lace tied with abaca and the list goes on. The mixture of folkioric and "aristocratic" fabrics delineates his typical artistic triad of textlies-texure-text. For the musical instruments resembling genitals, the pomposity of the penniless bourgeoisie, dissolved by Communism, and of minimalism undergoes a playful psychoanalytical treatment. (Ioana Serban, MARe/Museum of Recent Art )