DEA GEMINA R.2 (Fragmenta Bifrons)

> about the image:

ἓν σῶμα, διχὰ ψυχή.

(one body, a split soul – fragmentum hellenicum)

DEA GEMINA R.2 (Fragmenta Bifrons) shifts the question of doubleness from the realm of structure to the realm of atmosphere. Here the classical sources are still present – carved bodies, draperies, weapons, gestures – but they are subjected to a process of layering and soft erasure that moves them closer to the logic of dreams than to that of historical relief. The image behaves like a surface on which memory and oblivion are in constant negotiation, where no figure fully stabilizes and no fragment entirely disappears. The title again invokes a “twin goddess” but the emphasis falls less on mythology than on psychic experience. In Jungian terms, the work seems to visualize an encounter with the shadow and the anima at once: a confrontation with what is both intimately one’s own and radically other. Freudian dream-work is inscribed in the way elements condense and dissolve, creating a texture of allusions without clear origin. Lacan’s notion of the divided subject – a self that never coincides with itself – finds here a visual equivalent: an image in which every attempt at recognition is accompanied by a slight displacement, a sense that something remains out of frame. Rather than offering a legible scene from Greek or Roman mythology, DEA GEMINA R.2 (Fragmenta Bifrons) operates as an oneiric residue of that world. The erotic and the violent, the heroic and the sacrificial, the human and the divine coexist in a suspended state, as if the marble of antiquity had been left to dream its own history. The work invites the viewer into this intermediate zone, where interpretation is unavoidable but never definitive. Figures seem to promise a narrative, only to fold back into a more abstract play of repetition and rhythm. As part of Crișan’s ongoing exploration of Fragmenta Deorum, DEA GEMINA R.2 (Fragmenta Bifrons) can be understood as a contemporary meditation on how myths survive when their doctrinal frameworks have faded. What remains are not clear stories, but intensities: patterns, echoes, atmospheres. The piece offers a refined, psychologically charged image for those interested in the intersections of myth, psychoanalysis and contemporary art – not as separate domains, but as overlapping ways in which cultures learn to dream about themselves.

> series statement:

FRAGMENTA DEORUM reexamines classical mythology through a contemporary process of visual decomposition and reassembly. In this series, Alexandru Crișan approaches the divine body not as a fixed icon but as a mutable structure – an image that can be dismantled, reorganized, and reanimated through the logic of the fragment. Trained as an architect, Crișan adopts an analytical method in which sculpture becomes material, symmetry becomes strategy, and the image behaves like a spatial system rather than a narrative scene. Each work operates within a field of controlled instability. Fragments of ancient reliefs, gestures, and anatomical details are multiplied and recomposed into new configurations where recognition and uncertainty coexist. These images provoke pareidolia: faces emerge where none were placed, mythic creatures surface from folds of marble, and bodies appear to oscillate between coherence and dissolution. Meaning does not reside in any single element but in the shifting relations among them. The series engages mythology as a psychological reservoir rather than a storytelling device. Echoes of Greek and Roman deities – Medeia, Hecate, Cassiopeia – are not depicted but inferred, surfacing through repetition, distortion, and dream-like recombination. This oneiric dimension aligns the work with psychoanalytic readings of the image, where memory, desire, and symbolic residue intertwine. The divine re-enters contemporary vision not as a stable figure but as an afterimage: a structure of intimation, erosion, and metamorphosis. FRAGMENTA DEORUM proposes that fragmentation is a generative force. Through decomposition, the sacred is not lost but redistributed; through recomposition, myth becomes newly legible. Each artwork stands as a contemporary relic, a threshold where architecture, mythology, and the unconscious converge. Crișan’s images reveal that the gods persist – not in their intact forms, but in the fragments through which they continue to speak.

> project page: FRAGMENTA DEORUM

> Special Large Collector’s Edition of 10, numbered from 1/10

> Format SL1 90CM, SL2 120cm, SL3 150cm on shortest edge

> “DEA GEMINA R.2 (Fragmenta Bifrons)” is available for purchase in one unique Art Limited Collector’s Edition of 10 and 2 Artist’s Proofs, in giclee archival art print at the highest museum quality standards, on Fine Art cotton paper from Hahnemuhle with pigment ink. The Collector’s Editions are certified signature editions, stamped and numbered on the back side. Additionally, as a separate document, a dedicated signed Certificate of Authenticity, with artwork title, date and edition number, indicate that you have purchased an original exclusive artwork. No further reproduction of any kind will be run after the collector edition is sold out. The prices for Special Large Collector Editions are progressive. For other detailed information’s see the section ART PRINTS.