Fabian Marti, ‘Silver Egg’, 2015, GEMS AND LADDERS

One recurring symbol that illustrates where Marti’s interests intersect is the gesture of the finger-print, not only a collection of concentric ovals akin to psychedelic animations but also a means of printing, and thus reproduction. Marti’s pendants entitled Golden Egg and Silver Egg for GEMS AND LADDERS are a fresh iteration of the oval form. Pieces of the off-cuts created through a jeweller’s working, gold and silver respectively, are fixed within clear resin ovals. The transparent material also anchors the chains from which the pendants hang. In a similar fashion to Marti’s photogram works, which short-circuit the photography process, his pendants do not describe forms but enable a direct presentation of the shavings, dust and other small elements of the precious metals. Each piece is thus not a copy, but a unique element within the edition.

About Fabian Marti

With post-minimal verve and conceptual flair, Fabian Marti creates sculptural and wall works through which he explores ideas about artistic production and identity. Marti’s work extends from a reconsideration of the role of the artist as a brand and producer of goods and services for clients such as collectors, institutions, and viewers. He often includes recurring motifs, such as Op art-like black-and-white patterns and handprints, and embraces mechanical processes that include signature traces of the artist’s hand at work: photograms, ceramics, installations, and prints. Marti sees his work as aiming to break free of mechanical social and technological conceits. “To work in a more direct way, with my hands, I see it as a very archaic thing: creating something out of earth,” he says. Marti was featured in the 54th Venice Biennale.

Swiss, b. 1979, based in Zurich, Switzerland

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