This dichotomy is found in the recent photogram Fertilized Target Egg (Winter Suns), in which large blue ink stains are superimposed on the regular drawing of an egg composed of concentric circles. Combining an almost expressionist manual intervention and a digital image, this work contrasts the spontaneous gesture of the artist, the mark of his individuality, and the perfect finish of a computer-generated technical drawing.
The archaic motif of the egg, a universal symbol of the birth of the world, which touches on the mysteries of life and of creation, also shapes the artist's recent works in polyester, upon which he imprints drawings of Ouroboros, a mysterious mythological creature, between a snake and a dragon, which devours itself. The representation of the continuous cycle of life and death, just like that of procreation, is omnipresent in the work of Marti, who considers that chronological time is an illusion and who attempts to create a new unique temporality in the guise of an eternal renewal.
By constantly evolving between past and present, identity and anonymity, tradition and modernity, in an unabashedly paradoxical spirit, the oeuvre of Fabian Marti poses the complex question of the process of artistic creation and of its future in the era of new media.