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Heroes Of Studio Painting

Victor Hagea


Painting, Oil on Other

Size: 24 W x 32.3 H x 1.2 D in

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About The Artwork

Heroes of Studio: The studio as hierophanic space The title of the painting points out to the personages inhabiting the artist’s studio, in short, the models caught up in various hypostases and attitudes. One could see a model in flesh and bones, sitting, absorbed in a state of contemplative expectation of her creator; then, different statues, represented in stone (alabaster), or illusionistic depicted on the canvas placed on the easel. From this perspective, there is apparently nothing special about this studio, it is no different from any other painting studio. Yet this painting exemplary points out again to different modes of creation in pictorial representation – a theme recurrent throughout Hagea’s work. This is how one should understand the presence of the bound statue of Marsyas in painting, depicted on the easel. This is a dramatic vision touching upon the origins and nature of creation. Marsyas is bound up and flayed by Apollo after his defeat in front of the god of music and poetry. By flaying Marsyas, Apollo, the winner of the contest, wanted to show that creation is a painful endeavour, which necessarily involves sacrifice. Hagea intensifies this perception by playing on the visual contrast between the free winged statue of Nike and the bound Marsyas. But there is definitely something more in the atmosphere, impossible to describe, like the air, or the perfume, which makes the studio even more dense in meaning. There is no wonder that about the so-called stone porus, resembling the marble Paros by its whiteness and its hardness, it was said that has the power to conserve intact the bodies. What we know about the marble of Paros is that it has itself the reputation to preserve admirably the incense. Therefore, one must not overlook that this vast studio, the recipient in which these heroic bodies evolve, is all made out of marble. Different hystologic textures of marble pave the floor of the studio, and wrap around this magic recipient, which is the laboratory of artistic creation. If we follow the idea that each kind of marble has veins running thought it, one may say that the impression of a veined marble (marmo macchiato) is nothing but a symptom of incarnation (macatura della carne). The whole space of the studio looks like a vast open incarnated body, the sacrosanct temple, where the act of creation goes from gestation to revelation. Like the living flesh of the altar upon which the sacrifice is usually performed, this studio projects the same vision of hierophanic space where the artist himself silently performs his own sacrifice, in the likeness of the Abrahamic gesture. Like an enormous ampula, holding the incense or oil brought from the holy place, this space made out of a kind of porus stone keeps heroes immortal, turning them in a kind of reliques. Pale bodies, images of mineral luminosity, they are epiphanic signs of sacred creation. On the painter’s easel, itself a sort of altar table, a reflection of the sacrosanct space of the studio, the image of Marsyas dominates as the alter-ego of the artist himself surprised in the act of self sacrifice. (Text by Nicoletta Isar •VICTOR HAGEA AMAZING ART• ISBN 13: 9789189685239)

Details & Dimensions

Painting:Oil on Other

Original:One-of-a-kind Artwork

Size:24 W x 32.3 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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