- About the Artist
Christina “Farphyni” Maisl is a self-taught symbolist and fantasy artist, born on the 30th of May 1996, in Austria.
To keep her absolute artistic freedom, she decided to keep art as her hobby and is currently studying biotechnology.
Though being an artist that mainly draws and paints, Farphyni also designs and sews costumes and bags, weaves fabrics, creates leathercrafts and sculptures. Farphyni is always eager to try out new things!
Regarding drawn art, Farphyni usually uses a various range of materials, such as acrylics, pencils, ink, watercolour, ballpoint pen, copics and many more.
Farphyni attempts to represent reality in its gritty particularity. She believes that art should represent absolute truths that could only be described indirectly, thus believes that art did not have to relate to everyday experience. Her works are personal and express her own ideologies and worldview, particularly the belief in the artist’s power to reveal truth.
What unites her different styles is the emphasis for symbolism, often under the guise of fantasy art.
- About the Art
It is probably obvious that art is an important part of Farphynis life and most of her freetime is dedicated to art in all its colours, forms and shapes. All in all, her art has three different main motives, which can be seen as Farphynis three greatest art series:
The Refuge of the Mind
These works are about self-reflection and -awareness as well as the revelation and visualization of the intriguing properties of the human mind, consciousness and subconsciousness which constantly change with the flow of time. All in the means of finding an answer to the relativity of existence and define the own position in the ‘web of life’.
Therefore, abstract concepts, aspects of personalities and characteristics are impersonated in fictional creatures in order to work with them and analyse them to achieve a constant development.
The huge Kátoptron art series (about the concepts of “Alter Egos” and “Inner Demons”) are part of The Refuge of the Mind, containing artworks focused on Farphyni herself. They address three symbolic creatures (and their many aspects), which impersonate the three pillars of Farphynis being: Raa’Deviah, Kee’Asuriah and Yuu’Serah – being deiwos, daimonion and nous. They form a circle in which center is everything and void. Everything changes with the time, but time itself is a part of the circle and therefore the circle of the three stays, changed, but still a circle – neverending, with out a beginning and an expiration.
The Disparates are focused on emotions, feelings, the morbid and spirits. They reflect thoughts as well as worldviews, (non-existing) truths, philosophies and also time-critism and decadence. These works also are created in favor of making the invisible visible. The Disparates suggest ideas through symbols to emphasize the meaning behind lines, colors and shapes, giving each a very own meaning. They are partly surreal, partly abstract in means to express psychological truth and the idea that a spiritual reality lays behind the physical world. The ineffable, such as dreams and impalpable sensations, is given a form – however a symbolic one due to the certainty that everything is subjective.
Farphyni draws these artworks to quiet her mind, order her thoughts and ban experiences on paper.
The hundred-headed Hydra is a huge part of the Disparates and contains several art-series and projects about philosophical themes, questions we ask and the mysteries of life and the human mind.
The Hydra represents situations and thoughts, where a attempt of suppresion leads just to an escalation and a far worse situation. Therefore the meanings of each of the Hydra-heads needs to be analysed, accepted and finally released in form of art.
Otherworld is about imagination as well as headworlds and their (hidden) symbolism. This art is used as a contemplative refuge from the world to dream beyond the restrictions of mortality and materiality. But Otherworlds also contains works related to the wonders of the world, fairytales and folklore, nature spirits, elemental forces, fairies, dreamworlds and similar. They have more of a romantic character, dreaming about an golden age of harmony and miracles. It is an attempt to break through the borders of the ordinary, known and profane in a search for bliss and freedom, but still knowing this is only a (beautiful) illusion.
Otherworld also contains narrative works and a huge worldbuilding-project: Cunabula. Farphyni has created many own worlds in the process of worldbuilding and populated these worlds with self-created races and creatures. All of the creatures have their own story and character – they form tribes, cities and nations, each of them having their own culture and folklore. During the time of world-“development” many stories were written which connect creatures, tribes, nations and worlds. Altogether, they form a whole dimension: Ocul’thare.
Since 2015 Farphyni focused on writing the stories she has in mind instead of capturing them in artworks only. Currently she is working on a book series containing the stories from her worlds and their creatures as well as fairytales, folklore and legends from those worlds. After finishing the written stories they will be illustrated.
All in all, this enormous book-project is called „Chronist“. (that’s german for “chronicler”)