 |
|---|
|
|---|
„Many people, on seeing something that they are unable to grasp, much less imitate, simply try and gloss over it, regarding it as some kind of trickery or deception. They claim that their eyse ‚see‘ something which is not really there, or that they are seeing it differently from how it appears in reality. There are, of course, many kinds of deception. For instance, when someone walks along the road in the moonlight and sees a vertical shadow on a wall or in the mist, they might believe that they have an uninvited companion, one of the legion of wandering souls. (…)
Furthermore, when a person believes a thing to be deceptive and it isn’t…“
Do we, in fact, understand what we see? We often forget that sight is an acquired ability, and that we do not really see things that we have never experienced. What has never been seen cannot, of course, be imitated, onlz poorly reconstructed from what has been understood (think, for example, of drawings in a medieval bestiary). And vice versa – it is so easy to deceive our senses: our imagination is ready to draw an unquiet soul from a dark shadow, a face from a few pencil marks, and from an ink blot anything at all.
A small, light sensitive surface can become a perfect stage for deception, populated by creatures and objects which have never existed, summoned by a loving hand into meaning and dimension. This ancient mystery, the mystery of illusion – long regarded in art as a mere nuisance – has once again gained power and for some time now stories have been taking shape on paper, canvas and celluloid for the pleasure of many and the terror of more. „Did she want so much, not more? Just this simple scene with a few little people cut from paper, with jewels plucked from the ear, with sheaves in the shape of an angel’s wings?“ asks the man of the world with suspencion, on the verge of providing an erudite cultural-historical explanation as to whether the little horse and the key-hole should be regarded as the unique products of the Szentendre school of Hungarian surrealism; what is more, think of the associations there are with the motif of the wheel of the sun – not to mention winged creatures such as the seraphim or cherubs or fallen angels. Yes, it can all be interesting and important – an angel standing (sitting) on the top of a column, people sitting in the library beneath like stars, as if trapped in a cage, trying to escape, yearning for the sun, but whose destiny is to fall – yet more versions of the recurring stories which never lose their power to fascinate.
However, what is even more important is that in these latest pictures paper cut-outs sealed in a glass bottle turn into an inimitable and eye-catching beautiful deception: ethereal creatures with shining bodies emerge from the shadow, as if pure spirit has left its mark on the light sensitive paper prepared by the medium.
Szerző: Krisztina Szipőcs
Fordító: Translated by János Hedvig
Nyelv: english
Megjelenés dátuma: 1998
 |
|
|
|---|