The Bite Magazine - Spring/Summer 2025 - Issue 37

biteartist Curvaceous Martic’s creations include ‘Golden Black’ and ‘Flow- ers’ in stainless steel brass abrasion and graphite and ‘Black Mirror’ and ‘Black Dress’ in stainless steel graphite. ‘Empty’ has a poignant stainless steel sculpture that delves into a profound exploration of paradoxical symbolism. It portrays a woman on her knees with her hands positioned as if offering life, yet her stomach, back, and face remain void, imbuing the scene with enigmatic depth. ‘Reine de Saba’ is a captivating sculpture that marries stainless steel and brass incrustation to craft an en- trancing narrative of form and illusion. The artistic figure of a woman’s chest and stomach with a twisted thigh creates the illusion of one leg crossing over the other. This deft use of perception draws viewers into a realm where reality and imagination entwine. The brass incrustation adds an ornate touch, weaving in- tricate patterns upon the stainless steel canvas, echo- ing the tapestry of the mind’s eye. His sculptural brilliance in ‘Samothrace’ is formed through a fusion of 316L stainless steel and brass in- lay. It represents a woman’s chest exuding an ethereal aura heightened by the golden-plated heart. The se- lective gliding of the chest infuses the artwork with a luminous quality, an emblem of timeless beauty and significance. The artist invites viewers to embrace the exquisite juxtaposition of strength and refinement, metal and artistry, to reimagine the concept of the human form. In the figure of a woman’s bottom, ‘Fluidité’ exudes an alluring sense of curves and sensuality, embod- ying movement and spontaneity. The rest of the sculpture is adorned with a dynamic paint splatter effect, evoking a sense of liberated energy frozen in time. The sleek stainless steel form captures a mo- ment of unbridled expression and grace. It explores the fusion of structures and improvisation, form and freedom, in a harmonious dance of material and im- agination. A confessed bad student pushed by his parents un- til the second year of faculty, Martic decided to go hitchhiking abroad after his studies. “I arrived in London where I lived from [doing] small jobs.” Dur- ing this time, he started his artistic journey, spending everything to help him off in museums, especially