Felicia Simion is a passionate young photographer from Romania that discovered her craft at the age of 13 while taking pictures on family trips. Her intense desire to capture the beauty of the world around her is evident in her images which are rich with story and emotion. At 21 her journey is just beginning but her work is already widely published, awarded and recognized internationally. Her portfolio encompasses all photographic genres including landscape, street photography and fashion. She resists limiting herself in regards to style, preferring to use her heart and passion for observation as the only guide. Street photography is particularly meaningful to her because it turns a moment that lasts for a few seconds into a photograph which will live forever. The woman depicted in many of her images featured on the following pages appear confident, dreamy and mysterious. Of her subjects Felicia hopes that a little of each person’s true character appears within the image and that the viewer may find an honest, emotional connection with them.




What excites you most about photography? 

I think what excites me most about photography is that I get to see the world through a different kind of rationality. In fact, sense is put above reason, and everything seen through the lens comes with new meanings. The eye functions alongside with the heart, and so anything that I visualize, even though it may seem dull or mundane at first, becomes thrilling and gains freshness. 

From rich vibrant colors to timeless black and white and landscapes your technique is quite varied.  It can be easy for an artist to feel pressured to stick to a specific recognizable style. How do you avoid that pressure and give yourself permission to experiment?

Well, first, I do not tell myself that I am or thrive to be an artist. All I thrive to do is simply be. And experimenting, not sticking to one thing, helps me do that. It can be a stranger or a human-less scenery, or even an abandoned toothbrush that intrigue me to look for beauty in all I see.


The White Snake  — ink and watercolor on paper
Hippolyta  — graphite on paper

What are some of your internal influences? How does your mood and daily life experiences affect your work ?

I think it's more a matter of period, rather than daily influence. If I read, visit, watch or imagine certain things that inspire me, for the next weeks or months I will probably work in a certain direction that will then be changed, according to new thoughts and dreams.


What is the most challenging aspect of being a photographer and how do you overcome these challenges?

The most challenging part is working on personal projects, as it requires perpetual motivation that comes primarily from within yourself, not externally. Also I find it challenging when I am put in the position to photograph new subjects, without knowing anything about them, but what the camera shows me - yet this is truly exciting at the same time, as I crave to find something special, something unseen before, putting aside the first impressions, leaving behind everything I think I know. 


Lady Pink  — colored pencil on mylar

You work reflects an obviously insatiable passion for exploring the world and people around you. Where do you think this strong curiosity comes from?

I believe this curiosity comes from my childhood, when I could spend a whole day breaking tiny rocks in the sand pile, looking at the layers they are made of. I never got easily bored, and as an only child I could sometimes find great pleasure in solitude. The idea of photography came to me after spending my childhood years drawing, dancing, playing the guitar and writing tiny poems, things that still give me much joy. One day when I was 13 I simply decided to become a photographer and explore the world with a camera as the indispensable instrument. 

Is your work primarily spontaneous or do you also plan out projects and ideas with models and specific locations? 

I usually plan out the projects, but what happens at the photo shoot is often very spontaneous. I like to observe my models first, to watch their attitudes, gestures and reactions to the places and objects, and then to imagine situations which bring out the personality of the people portrayed. Most of the times inspiration comes unexpectedly, but I strongly believe that you have to work continuously, not wait. It's like warming up, preparing for something bigger that you don't know when will come, but are sure it will.


The Psyche Knot  — ink and watercolor on paper