MEDEIA R.2 (Disturbed v.1.7)

> about the image:

Ubi ordo deficit, ibi anima loquitur.

(where order fails, the soul begins to speak – fragmentum apocryphum)

If MEDEIA (Fragmenta Arcadiae) stages the myth as a fractured tableau, MEDEIA R.2 (Disturbed v.1.7) intensifies the fracture into a systemic collapse. The image operates as a destabilized double, a distorted echo in which Medeia’s mythic structure is subjected to visual entropy. Relief figures dissolve into a matrix of micro-contrasts, Mach-band effects, and pareidolic illusions, generating a surface that seems to shift beneath the eye, as if the marble itself were undergoing psychic convulsion. This is not the narrative of Medeia; this is the afterimage of her presence, dispersed across an over-articulated grid. Here, myth is submitted to the logic of the unconscious: repetition, distortion, condensation. The heroic bodies of Jason, the Argonauts, and their sculptural companions become freudian fragments, involuntary carriers of repressed mythologies that erupt through folds, ruptures, and doubled contours. Where the first work examines the architecture of myth, this one interrogates its destabilization. The surface is a field of visual instability – dreamlike, recursive, and at times violently incoherent. Medeia appears as a force rather than a figure: a catalyst that undoes proportionality, order, and the heroic ideal. Her myth becomes a study in psychic disturbance, a choreography of dissolution in which identity and narrative collapse into a shimmering field of possibilities. “Disturbed” does not signify damage but transformation. This work proposes a radical epistemology of myth, wherein meaning emerges only through disorientation. The sculptural archive becomes a contemporary organism: mutable, hallucinatory, forever on the edge of recognition. What we see is the mythic body not retold, but unmade and remade within the logic of the dream.

> 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

> “MEDEIA R.2 (Disturbed v.1.7)” 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.