Page 36 - VICTOR HAGEA : Amazing

in spite of the figurality and the visibility of the

meta-pictures, the meaning of ergon remains

undisclosed, it is a mere rebus essentially
obscure. But as Derrida (La vérité en peinture,

Paris, 1978, 63) argues, parergon is not totally

lost. From a specific exterior point, it touches

and cooperates within the operation. Neither
completely exterior to the main discourse, not

simply within it, it is a vision which we, the

spectators, must accommodate alongside.

We may also read Hagea’s perplexing picture

with J. Hillis Miller’s deconstructivist theory

(Deconstruction and Criticism, New York,
1979, 219), where para is a “double antithetical

prefix,” signifying at once proximity and

distance, interiority and exteriority. Para- is a

“permeable membrane” connecting inside and
outside, placing the outside in, and the inside

out, dividing and joining them. And this might

be, after all, the very nature of this picture, a

reflection of wit and grace of the artist, which
enchants us, and once again seduces our soul.

This is such a game (concetto in Spanish Baroque)

in which we let ourselves be engaged.

Nicoletta Isar

Copenhagen 2008

Still life WitH blAck Pot 2004 oil on cAnVAS 14x17 in. /36x44 cm. 
nAtUre morte AVec Pot noir 2008 HUile SUr toile 14x17 in. /36x44 cm.
Stillleben mit ScHWArzem krUg 2008 Öl AUf leinWAnd 14x17 in. /36x44 cm.
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nAtUrA StAticA cU cAnA neAgrA 2008 Ulei Pe PAnzA 14x17 in. /36x44 cm.