Sometimes a subject would emerge from Feruch's process of abstraction and become more recognizable, such as in his allegoric series of Paris. In that series, fragments of architecture and statues swirl around, twisted in a poetic embrace.

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Recently the human figure had sparked Feruch's interest once more, but soon it would become assimilated into the composition, and be implied rather than shown. Feruch’s creativity swings in a constant pendulum between figuration and abstraction in order to retain its emotional essence.