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That sounds a lot like esoterism and New Age. An artist following in the footsteps of Aldous Huxley and Carlos Castaneda, whose reports on the consciousness-expanding aspects of their drug experiences once made them counter-culture heroes? In any case, a glance at Marti's work makes one thing clear: his photo works, films, and ceramics, staged as seductive fetishes in elaborate settings, look extremely good. Their decorative surfaces invite us to follow the artist on his trip, which not only leads through regions beyond reality and rationality, but also through the whole of art history. The amazing thing is that he succeeds in giving images back their original power, even those that have become reduced to cliché. Thus, the spiral-the most recurrent form in his work-twirls not only in Duchamp's film Anémic Cinéma (1926); one also sees it in the eyes of the snake Kaa in Walt Disney's Jungle Book (1967) and in thousands of comics. At the same time, the spiral is also an ancient mythological symbol. Marti's works draw from these prehistoric images imbedded deep in the human subconscious.
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