about the bible scene where Eve convinces Adam to eat the apple. The inspiration was Plato's androgyne being. In the picture Adam and Eve were the same entity, a vibrational spirit who when touching the tree the action began.
Instead of apple i used the symbol of snail. To me snails are bad. The
Symbolism of snail comprises: excess, contempt, indifference,
salaciousness,negative influence, disease, primal instinct,
contamination, and it is also an intermediary between the spiritual
world and physical world. But instead of eating the snail/ apple Adam
withdraws giving a whole new meaning to the episode. By kissing the
snail Eve becomes corrupt and she starts to become matter. Before that
she was in an astral plane of existence and now she’s becoming a part of
our reality. The main technique I used to represent the astral world is something that I call “controlled dripping and splashing”.
The group of works Filters are the result of an
experimental project I used to do. I put patterns of my interpretation of the
astral plane on a glass screen and used it as an interference to take photo of
different people. What I wanted to pursue was a projection of their image in an
astral plane in order to imagine how would they change or transform. The
“astral layer” helped in creating a bridge between my concepts and people’s
understanding of them and also started some meaningful conversations. On the
long run it was a good study of how my technique could interact with real
people: their transformation in the astral realm became instantaneous .The “real
world” and the astral plane always interact with
The Symbolism of snail comprises: excess, contempt,
indifference, salaciousness,negative influence, disease, primal
instinct, contamination, and it is also an intermediary between the
spiritual world and physical world. The shell's Spiral, through its
running curve, shows the beginning and the end of the line, and reflects
the continuity, infinitely repeating defines its timeless being .Some
times the symbolism is amplified, because of context, but it keeps a
All works are done in oil on canvas technique
and size 20/20 cm and 30/20 cm (size frame-less)
The work “Spaces” represents a mixture of compositional reports of three different spaces. By superpositioning two canvas it is created the first space. Depth is the second space - the 2D is defined by the colors. The third space is represented by the “black holes” and the space between canvases. If you focus gaze on the the black egg shaped spaces long enough, you get the illusion you can see the space between the two canvases - the particle void.
The set of
snails that floods the space, the boundary between the transfixed visible and
the animation beyond the space-time curtain, locate the cognitive permutations
that operate with the levo-dextrogira monad snail in the suave field of
Ferkel plastically evokes through the conceptual operand SNAIL in fact the
compact component of the cone geometry wrapped by the axiality of the little coronotip
which represents the past, the larger represents the present and the wet
visceral part seem to palpate the bottomless outline of the vector field before,
outside the shell spirals.
language snail, the snail image, the green tongue snail, the snail snail, the
journey into the slow universe, braked up to inertia, the snail non-snail
becomes an atom of the generative algorithms by which the author invites us
with an amazing accuracy to the spectral polychrome show which becomes
unctuous, sensorial, having the fleeting allure that animates the duplicitous
symbolism of the frozen flow.
slowed being, centripetal centrifugal paradox, captured in the volute of the
hypnotic vertigo, cavitary fragile shell, the sinuous outflow propped in the
landscape of the chalk house, transcendental becoming of the mute whirlpool of
the“glossolalie” that sweeps the curvilinear
wall of spectral gelatin, at the somber border of M to K after the snails.
"Suita melcilor ce inundă spaţiul, graniţa dintre vizibilul încremenit şi animarea de dincolo de cortina spaţio-temporală, situează permutările cognitive ce opereză cu monada melc levo-dextrogiră în câmpul suav al poeticii picturale.
Cristian Ferkel evocă plastic prin operandul conceptual MELC în fapt componenţa compactă a geometriei conului împachetată prin axialitatea coronotipului mic trecut mare prezent iar partea umed viscerală palpând parcă conturul insondabil al câmpului vectorial de dinaintea, de dinafara cochiliei spirale. Melcul limbă mută, melcul chip, melcul verde limbă, melcul melc, călătoria în universul lent, frânat până la inerţie, melcul nemelc devine atom al algoritmilor generativi prin care cu uimitoare acribie autorul ne invită la spectacolul spectral policrom ce devine onctuos, senzorial, având alura fugară ce animă simbolismul duplicitar al curgeri încremenite.
Melcul, fiinţă încetinită, paradox centripet centrifug, capturat în voluta vertijului hipnotic, cochilie cavitară fragilă, curgerea simuoasă proptită în peisajul casei de cretă, devenire transcedentală a turbionului glosolaliei mute ce inundă curbiliniu zidul de gelatină spectrală, la graniţa funestă a lui M spre K de După melci."