Page 26 - VICTOR HAGEA : Amazing

of Ariadne – out of which this paradoxical reality, the Essentially pliable, arched by the “elastic force” of
tiny interstice of his canvases, is weaved out, which
the French so beautifully reflects in the word-play
voile- toile.[1]
The Chosen One (2001) is, among folds, the
impersonation of the Fold, matter which reveals
its parlant texture in a way that testifies how fold
could become power, how texturology becomes
logology. This crying out of the fold, engulfed by the
force beneath, performs the imperative eligibility of
the One. This might be briefly the meaning of such
perplex vision of soteriologic hands coming out
from a laminar flow of the heavenly curtain. The
overwhelming vision of a faceless breath incarnated
by the purple curtain is a reversed persona (the face).
It turns face (a noun, a presence) into an action, the
un-negociable verb of possession expressed by the
cramped hands – the venous folds of the veins.
The folds are in the soul like the veins in the marble,
says also Deleuze; the same image is applied to the
soul and to the marble, it is why the folds are like
the veins. Sometimes the veins are the twisted coils
of matter; sometimes the veins are the innate ideas
in the soul. Matter is marble and soul is marble,
and they both partake of the same substance whose
curvature extends according to the fluidity of matter
and the elasticity of the bodies. Such is the curve of
the female melodic body in the Dream (2001), mused
by the S(inuous) line of Beauty, which once was (still
is) a Joy forever for William Hogardth (1697-1764).
26
the invisible psyche, her body emerges in the visible
as a hypnotic reflection of some compressive force
which works on matter. Matter coiling inwardly into
the shells spread around her bed, echoing inaudibly
the deep sound of the deep sea heart only by her in
a swift unfolding dream. Curtains of waters, waves
of iridescent golden light, mute cascades dripping in
the folds. A vision of primeval anima made out of the
most ineffable substance of dream, water, and soul
– the primordial matter of negative femininity. We
recognize the Leibnitzian horizon of bodies that once
inspired Deleuze meditating upon flexible or elastic
bodies coherent in their folds. But neither Leibnitz
not Deleuze has directly inspired Hagea’s vision, yet
they both attest through their philosophical thinking
the paradigmatic nature of the Baroque fold, the
enduring power of this vision beyond time. The fold
is the paradigm which secretly informs the artistic
inspiration in time and beyond time, and this should
be so because the fold is in the soul. Hagea’s poetics
of serpentine bodies is a refreshing vision, indeed,
particularly after the discontent with the abject bodies,
the exquisite corps of postmodernity. What Hagea
does is to put in a new perspective the figurative
tradition, and struggle for the wakening of the gods.
He wants by all means to recuperate the original
splendour of human anatomy in its sacrosanct and
mysterious origination. Yet his gods and goddesses,
marble-like or elastic flesh, are mostly in a dormant
state, like the “sleeping waters” [2] of the primordial
chaos.