These shapes are essential. They are those of life, of its beginning. Of life that comes into being, searches for itself, learns and finally finds itself. It is obvious that in the ocean of origins, primitive beings, first cells were bathed in ebb and flow, the curling waves that bring life and at the same time create it. The cells then decided to live together, to share the harmony of their messages as to become curling waves, rays and whales that barely seem to be escaped of their liquid element, mammals discovering firm ground in symbiosis with the surrounding nature.
Dr. Gérard Lippert, veterinary, oceanologist, 2008
The sculptures of Christina Jékey are fascinating. Created on the basis of a banal material, superimposed layers of Triplex, they seem to be hewed in precious wood that has multiple nuances. They capture the striae from a movement made of fluid spirals. This looks like controlled and clear waves forming a sort of impeccable flux, a constantly growing swell. The openings and the curves add up, combine, and shout to one another. Installed on a pedestal or displayed on the ground, pure forms, appearing suddenly from a natural kingdom, multiply visual angles, as her chosen layout dictates. Far from being a frozen art, Christina Jékey offers beginnings and departures... She brings to light all the possibilities of the original material and invents a new life for it. She develops a demanding work, looking for its own coherence; a work that questions the laws of the universe and who very simply dares to assert beauty in the tradition of great contemporary sculptors.
Jo Dustin , December 2006
The artist expresses a deep impulse that projects Christina Jékey beyond materiality ...
Anita Nardon, December 2006
Still working with wood, in a very personal way, to the point of making it unrecognizable, Christina Jékey changes course, introduces colour and offers us a new world of shapes with baroque accents. Her recent work has a fancy for coloured layers and gradual phased placement. A kind of tangible cheerfulness emanates from each relief. Ochre, yellow, blue and white follow one another. Pink, red and mauve colours animate the vibrant stripes and the colour, sometimes sunken, follows the shape in turns and curves. Gestures find expression in an active luminosity. The time of incisive scansions has come. On the wall or on a socle, the sculptures answer one another in a dynamic dialogue. These new creations come into being in an elaboration fed by reflection on the universe and its four elements: air, water, earth and fire. Some of these works of art take a more strict shape, as an attempt to make an ordonnance of scientific inspiration. In another register, Christina Jékey still explores in her plexiglass cubes, the colour variety of light. Far from any gloomy season, we find ourselves in the fervour of a laboriously conquered summer.
Jo Dustin, September 2008
Steel & Stone sculptures
Tireless explorer of the many possibilities offered by several materials, Christina Jékey employs space intensely. Her work in metal or schist is taming. Some of her sculptures are perforated and modulate an essential scansion. These sculptures show a dense progression of a clear fluidity. Often, one may find again some ridges declined differently that characterized her volumes made of multiplex. A long steel carapace articulates a reptilian projection. Strange rhythm that coils up gently animated by an autonomous well framed declination. A sculpture made of both schist and metal lays out in tiers its coronation and proposes a sudden round and central appearance. It is a progressive germination that ends with an apotheosis. Christina Jékey levels the wave in a discreet but always judicious way. She delicately forms purple and pink stanzas. Christina Jékey's work is slowly fascinating and offers what one may call an additional soul without any compromise.
Jo Dustin, June 2007
This real desire from elsewhere pushes Christina Jékey naturally towards plexiglass, transparency and above all: light. Then, takes place recreation that leads the artist to present ludic unidentified objects that the visitor will discover behind the doors of a series of fridges. Every open door reveals a dream. The artist just entered the domain of fibre optics and those will reveal plenty of rich discoveries which underline the forms.
We plunge in the depths of the abyssal first and then in the vertigo of infinity and cosmos. Are we really in the depths of the still unexplored oceans or beyond the limits pushed back every day by the space journeys?
We can guess an image that shows a journey into the galaxy that more than one painter has tried to approach.
Then, comes the crossing of a passage that opens the way to a new balance where every possible architectural line is questioned, where the surface is bigger and the horizon line is wiped off from every possible approach.
Plexiglass sculptures, hollowed out, polished or frosted, alternates sensations of emptiness and fullness, of light images and material existence in total weightlessness because at the origin of the core, a cube becomes world, a universe that black light transcends and from which the presence is fed by images of memories. In those impalpable objects, the visitor will project his personal images never revealed that light will help to materialize a brief moment. This is where the phenomenon of persistence of retinal images takes place.
On this old principle of 200 years, modern man deprived of normal dreams, finds a desire of discoveries often denied by the theories of hardline realism.
With a lot of know-how, a little of transparent material and refined use of several sources of light, Christina Jékey succeeds in taking man beyond the industrial world, beyond overwhelming contingencies towards nowhere and everywhere land for a journey in the imaginary.
Anita Nardon, 2006
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