About the Artist
Christina “Farphyni” M. is a self-taught 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. She got her bachelor degree in 2018 and will finish with her master studies in 2020.
Though being an artist that mainly draws and paints, Farphyni also designs and sews costumes and bags, weaves fabrics, creates leathercrafts and sculptures. Even 3D-art and -prints are part of her creation.
Regarding drawn art, Farphyni usually uses a various range of materials, such as oil paints, acrylics, pencils, inks, watercolours, ballpoint pens, markers and many more.
Farphyni attempts to make the invisible visible and sees herself somewhere between the blurring borders of surrealism and symbolism, sometimes under the guise of fantasy art.
About the Art
What unites Farphynis artworks is the emphasis for depth psychology and the unconscious as well as mystic. The goal of her art is to make the invisible visible.
The unconsciousness is like an own world, which is as real and important for the individual life as the conscious, thinking world of the ego, but infinitely more profound and richer – full of symbols (which appear in dreams and spontaneous phantasies) and inspiration, sudden instinctive insights.
The conscious is only a small part of the psyche. The majority of our self is unconscious (understood during self-reflection). The unconscious has a significant impact on emotions, moral and mental perceptions and social behaviour. Therefore it influences the “destiny” a lot.
Our life is influenced by our unconsciousness, as often we act through inner forces (and not only because of external stimuli); after all, the consciousness is only a small part of the psyche. Furthermore, the unconsciousness of humans is connected to the environment in an unforeseen depth: social groups, time, space and nature. Additionally, unconscious contents of the mind massively influence the personal individuation process (mental/psychological maturing process and development path of a human being).
C. G. Jung (and others) already realized that a human receives a feeling of completeness and meaningfulness through a union of the consciousness with unconscious contents of the mind. In this way a human is able to reach their highest purpose: The complete realization of their individual self. Once all masks are dropped and all shadows (“other” sides of the ego) emerge. This may seem frightening or maybe even repellent to some people – the unconscious has always had an aura of mystic and mystery.
As mentioned, Farphyni attempts to make the invisible visible. Things she finds in her own silence (or storm) are manifested in art. Because, in the end, the internal psychic processes of each human have a secret determination to realize and express the self as well as to find the meaning of the human existence beyond the feeling of an impersonal and meaningless aspect of coincidence. All in the means of finding the inner meaning of life (an answer to the relativity of existence) and the own place in the world, to be able to follow the inner way with courage and honesty. (Because long-term repressed unconscious contents of the mind are against all instincts and lead to mental sickness)
Artists have always been an expression of the zeitgeist (spirit of the time). Their works root only partly in their own personal psychology – whether they are aware of it or not. Artists shape questions and being of their epoch and in turn are shaped by them. Most works contain messages of the unconscious even though artists are unaware about it sometimes.
A lot of artists (which show the world of dreams, the inner images and phantasies) express an inner view and make a background of life visible. The gulf and tension between the unconsciousness and consciousness (which dwell within every modern human) seeks expression in art.
Like Chirico wrote regarding the “Pittura Metafiscia”, every thing has two aspects: The ordinary, visible aspect and the ghostlike, metaphysical aspect. An artwork has to tell something, which is not visible in an outer appearance. Therefore, the transcendental, supernatural and mental is visualized: The second, secretive reality behind the visible, beyond the sensual experience, which often has a certain inconsistency.
Accordingly, the ghostlike aspect of things is visualized, a dreamlike transposition of reality, which emerges visionary from the unconscious.
Farphyni strives for a unification of the own inner reality with the reality of the world (and nature), of dream and reality. This objective is achieved by standing on the threshold: With one foot always linked to earth. Because the unconscious shows its creative powers (with which the melancholy of the emptiness and meaninglessness is overcome) only in connection with the consciousness (the bridge to the human and comprehensible).
The artwork of Farphyni reflect emotions and feelings, show the morbid as well as spirits. They represent thoughts and worldviews, (non-existing) truths and philosophies. All these themes are illustrated; questions we ask and thoughts about the mysteries of life and the human mind. Themes, which should not be repressed.
Some works thematise imagination as well as headworlds and their (hidden) symbolism. These works are meant as a contemplative refuge from the world to dream beyond the restrictions of mortality and materiality. But also a connection to the wonders of the world, fairytales and folklore, nature spirits, elemental forces, fairies, dreamworlds and similar is visible. These works have more of a romantic character, dreaming about a golden age of harmony and miracles. It is an attempt to break through the borders of the ordinary, known and profane.
Farphynis creative work serves to make the invisible and mystical visible, to affect the beholder emotionally and familiarize them with the hidden – whether it may appear terrifying and unsettling or enchanting and enriching. It is meant to cause a change in the beholder or serves as fuel for thoughts.
Ideas are suggested 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.
Therefore, the invisible was made visible.