Interview with Cor Fafiani — Contemporary Art Curator Magazine

In your artistic discourse, you frequently reference the deeper ontological questions surrounding human existence. Can you elaborate on how these philosophical inquiries into the nature of being and selfhood directly influence the thematic choices and narrative structures within your sculptures? How do your personal philosophical stances emerge through the abstract forms and vibrant materials you use?

The questions that concern us all about the existence of the world, such as climate change, refugee problem, and what is happening because of wars and the meaninglessness of it, I have no answer to that except through my work. For example, I can use the objects occurring in my work in new work and one work generates another. such as planet 1 and recycling box 1 and 2 and black box and planet see the photo 1-1.

Your art employs a diverse array of materials and colors, each adding a layer of complexity and sensory experience. Could you describe the process by which you select specific materials to match the metaphysical and philosophical themes of your work? Are there any materials or colors that you find particularly challenging to incorporate, and what makes them uniquely rewarding to work with in the context of your artistic goals?

In the eighties I became interested in genetic developments, e.g. genetic manipulation. People wondered whether it was possible to clone animals or manipulate genes with other genes so that other properties would manifest themselves. So I came up with the idea of using polystyrene as a material because of the cell structure. And as packaging and use material I can reuse it otherwise it is thrown away. Some artists and scientists work with real DNA material. You quickly find yourself on a slippery slope. That is not ethically responsible. That is why I find it particularly challenging to bring my fantasy to imagination see clusterspace. I usually start from the shape that is different every time see photo 2.

Considering that your artwork intentionally lacks clear answers or references, leading to a sense of existential doubt among viewers, how do you measure the success of a piece? Is there a particular kind of feedback or viewer engagement that you find most fulfilling or indicative of a successful communication of your artistic vision?

That my work evokes existential doubt is inherent. Because I have that myself. My communication consists of evoking doubt and awareness in people. In the painting series made Deadline a video series, I confront the viewer with litter. They represent my involvement in this social problem. I also use this theme in my sculptures.see photos 3, 3.

Your sculptures often weave together elements from ancient myths and contemporary scientific concepts like genetic manipulation. How do these diverse influences coalesce in your artwork to address or critique modern societal challenges? Can you provide an example of how these themes have been integrated into one of your recent works and the message it conveys?

Ething of the message. Old myths and contemporary scientific concepts you will find in for example, Black box and snake of Eden It is an old biblical theme; the snake that tempts Eve. The snake is used here as a metaphor for evil through which one recognizes see photo 4.

You've noted that your work encourages "free and ethical introspection." Could you discuss how you have approached this in a specific artwork? What ethical questions does it raise, and how do you envision your audience engaging with these dilemmas through the lens of your art?

Sculptures are almost like capsules of a civilization. The question is what legacy will our sculpture leave behind. That is difficult to say about the time in which we live and algorithms determine our life experience. The function of art lies in that it cannot always be expressed in words. Last time these algorithms inspired me in the sense that everything is interchangeable in this way. For example, I can use the objects that appear in my work in new work and one work generates the other see .recycling box on which a variation can be seen see photos 5-5.

The concept of "potential fauna" in your work suggests a deep engagement with speculative biology and the possibilities of life beyond human understanding. How does this theme inspire your creative process, and how has it shaped the evolution of your work over time? Can you share insights into how this theme has been manifested in your recent projects or how you plan to develop it further?

The big questions of life such as global warming, the refugee problem, boats keep me busy. See for example when people have drowned, objects remain in the sea and form a contrast with the beautiful flora and fauna. You can also find the relationship between b[ack and white in the work Between us, the woman's figure has been made slightly larger and protrudes above the man.see photo 6.

You articulate a belief that art serves as a profound response to the existential voids experienced by humanity. Could you explore how this theme has been particularly potent in a specific piece of your work? What are the personal or universal existential questions that this piece addresses, and how do you hope it impacts the viewer?

What is increasingly more prominent in my work are the animal figures that arise in my imagination and depict social and societal issues, such as essential emptiness. The animal figures here have rudimentary morphological forms, such as in the image Pandora's Box where you see a hybrid animal figure. In this way I also connect my painting with my sculptures. The viewer can let his own imagination run wild here.see photo 7.

Humor plays a significant role in your creations, existing alongside and sometimes intertwining with serious philosophical exploration. How do you find the balance between humor and gravity in your work? Could you explain the role humor plays in engaging your audience and deepening the philosophical impact of your sculptures?

The painting copy of une pipe shows my humor that relates to the painting by René Magritte, The Treachery of Images (Ceci n’est pas une pipe) In the sculpture black lives matter I use black likes instead of regular ones. This is meant playfully and seriously at the same time. Humor can also put work into perspective.see photo 8.

Your artistic inspiration often comes from remote and largely inaccessible environments, such as deep-sea locations or dense jungles. How have specific expeditions or research into these environments influenced your artistic output? Could you describe how one particular journey or study has shaped a recent piece of your work?

My connection with nature is that there are deep sea locations where the strangest animals live. They inspire my work see droppingroom and Green space and show my connection with nature. see Biotope see photos 9-9.

As you look to the future of your artistic journey, what new themes or techniques are you eager to explore? Are there upcoming projects or experimental materials you are particularly excited about incorporating into your work, and how do they relate to the ongoing evolution of your artistic philosophy?

I leave everything open in terms of my ideas for the future. I look for solutions and agreements between my sculptures and paintings . One possibility for the future is to fantasize more hybrid creatures that reflect my inner feelings and shape them Game climax. Matisse and Murakami inspire me through their work. Matisse by his decorative style Murakami by his paintings.see photo 10.
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