Page 34 - VICTOR HAGEA : Amazing

Pictorial turn. the

There is also, among those stills, Rebus – an
intriguing vision of a woman whose body is after-life of the Still

almost entirely covered by a squared folded

impenetrable metal. The image behind the

strange shield could only be guessed, as in

a rebus. Like in the Unveiling, the screen
disguising the woman’s body in Rebus opens up

sporadically in some windows torn in the metal,

to display esoteric symbols. Their meaning is
no doubt significative – like everything Hagea

does. But I must insist on the metapictorial

effect of the image because this seems to be also

part of the artist’s project. Again, Hagea plays
with visibilities and invisibilities.

We may agree that the main discourse or, the text
of the picture, is the woman’s body, the eternal

sacrosanct mystery. The split meta-pictures in

the windows are no doubt attempts to penetrate

this ineffable enigma. They are meta-pictures,
or para-texts, like in para/ergon. Let us come

close to this important term. Paragon is what

is added to the work (ergon), and according

to some interpretations, it is what might be in
conflict with it. As Derrida puts it, “parergon

is against, next to and extra to the ergon, the

work done.” In Hagea’s opus (ergon), these

parergonal images are presumably some visual
glossing around and about that impenetrable

vision, which could only be contemplated as in a

mirror, placed in a kind of mis en abîme. Indeed, Rebus as Paragon

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