Page 64 - VICTOR HAGEA : Amazing

November

A kind of Baroque drama seems to unfold in the

last painting of Victor Hagea – “November.” Victor

Hagea’s Spiel is apparently staged in the grain of
the season, taking up the phenomenal dimension

of the most negative of all seasons – No-vember.

That we are merging into a theatrical space it is no
doubt, particularly because of the ample rhetoric of

bodies, but whether this is a Baroque Trauerspiel

or not, it is yet unclear. At first sight, some visual

dramatic conflicts are unfolding in the image. But

the substance of this drama is so dense and round in
its inspiration that cannot be totally grasped without

the assistance of the artist himself.

He helps us understand why, almost in a Shakespearean

manner, these personages emphatically turn

this drama into a kind of Life staging – a rite de

passage. The passage is from darkness into light (or
rather, towards light), a slow process of ontological

clarification from vagueness to en-light-enment. This

is, according to the artist, the existential trajectory of
being and becoming, eventually, the transformation

of this fragile body of the mysterious lady heading

off to a new horizon. She moves initiaticaly through

Life, leaving behind the signs of temptations, their Between a baroque

loud vociferation, allegorically embodied by the two
parodic personages. They are, according to the artist, drama and a

the “ironic consciousness of Life,” a reflection of

a “torn consciousness.” This fracture in the Spiel postmodern rite de
might stand for the tragic, with some universal

vocation, and for that matter, the experience could passage

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