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Genesis Painting

Victor Hagea


Painting, Oil on Canvas

Size: 33.5 W x 39.4 H x 1.2 D in

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About The Artwork

Surface and decoy. The Painting as Seduction Few thoughts around and about Victor Hagea’s imagery There is a virtual dimension at stake in the image, a kind of spatiality there, of which William Gibson might say that “There's no there there.” The surface of the paint is so virtual as it makes all boundaries permeable: see there, in the painting “Dream” (2001), “The Tissue of Ariadne” (2002), or in “Genesis” (2003), how walls collapse into marine weaves or linen folds, but no contour can delimit the specificity of such things. Their physicality is denied, transformed, and transfigured. They are neither objects, nor atmospheric phenomena, objects become ineffable phenomena and phenomena receive a magic substantiality in a world in which the trace of their crafting is skilfully hidden. There is no trace of differance. The fluidity of such world makes it problematic to define the kind of spatiality we are in. It is like a dream space, a vision, a space of interval or in-betweenness that allows things to cohabite and to exist side by side in their irrationality. But the true nature of such hyper-real space we might never get to know. Anyways, Hagea is not present there to tell, I mean, the physicality of his body and hand. The Master has erased totally his masterful hand, there is only the interstice of his body, that is, the vast surface of his hunting imagination. The interface of his imagination is projected inside out on the surface of these hallucinatory visions. It fills up completely the surface of paintings, as well as of the space beyond, crossing out the frame, spilling into the space of the spectator. There is a quite strong perception of the will of the painter to engage his viewers in his hypnotic visions, to make them acknowledge the paradoxality of their ground, to engage them in a kind of delightful visual lust from which one cannot escape. The transparent screen of this kind of concetto-like image, a medium of deception, as well as fascination, acts as a surface with its own depths in which one can inscribe oneself and erase one’s own traces at once. No one is finally there in the paint, neither the artist nor his viewers, although, in a most conspicuous way, they are all right there. Yet Hagea’s vision is not the kind of a mere optical illusion, neither is it a pure decoy, a Baroque deceit of some historical extraction. Rather, it is the reality of our own deep hyper-reality, which he forces us to acknowledge and cultivate – it is the space of creative imagination. Text by Nicoletta Isar •VICTOR HAGEA AMAZING ART • ISBN 13: 9789189685239

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:33.5 W x 39.4 H x 1.2 D in

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Born: July 22, 1948, Lupeni/Hunedoara, RomaniaI have been interested in drawing and painting since youth, and had a rigorous arts education.I have been much influenced by the Flemish, Dutch, Italian, Spanish, and French great masters. I saw in their multi-faceted work multiple windows toward the absolute. Then Dali showed me what kinds of possibilities dwell within the domain of the "real" and what the artists can make of it. After a time of experimenting in several directions such as cubism, constructivism, and abstractionism and using various techniques, I came back to the kind of painting that best expresses who I am. I have always dreamed of painting this way, finding means to capture the passing and evanescent nature of reality through forms that transcend it. Traditional Indian philosophy claims that "life is a dream," underscoring an invisible boundary that separates different worlds from each other and therefore the respective "realities" that correspond to them. There is something in each "reality" that transcends its physical immediacy taking the form of a projection or emanation, thus outgrowing its deterministic corset and finding its "super-reality" at a higher level. I believe my textual "Painting as performance representation" opens the door towards understanding this. • From WIKIPEDIA: In my painting I start from reality and its data and then, by combining elements of the real, I pass beyond reality in another dimension, which I call the supra-reality of reality. This play of elements opens a gate to the invisible element which stands behind scenes, like a stage director. As artefacts of a statically eternal life, statues are but a means of expression in a more philosophical context of the work of art, by opposition to the dynamic of living things. These two opposites are nevertheless linked by means of the hero category, for heroes are protagonists of a matrix which shapes human destinies. Old myths become live again in the destinies of today's heroes. "The focus of my artistic creation is the human being in connection with his activities , actions and desires which determine and form his fate - the human who creates his . If I had to characterize my style, I should call it with indefinite boundaries between reality and dream. So I would like to invite the spectator to be witness to the interaction of the states where the reality escapes into the dream and the dream will turn to some aspects of the reality.

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