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The Gift Painting

Victor Hagea


Painting, Oil on Canvas

Size: 16.9 W x 20.5 H x 1 D in

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About The Artwork

The defloration of the painting Nicoletta Isar Fleur de lis – a coat of arms in the manly heraldry – is the heading of what appears to be yet another secret story of Victor Hagea, suggested in the title of one of his latest paintings called The Gift. I am simply drawn into the specular universe of this painting, and intrigued by some visual patters in the painting, for example, the deictic hand; the breaking of the surface by which something is revealed, which are shared with the very last painting, The Back Door to Paradise. Yet each painting, I must stress, weaves its singular and unique poetics. If we assume that in The Gift too we have the reverse side of Paradise as in The Back Door to Paradise, albeit a transparent gate to Paradise, then Paradise itself must be somewhere beyond the field of vision where the body remains, letting appear just a synecdoche of itself: the hand penetrating the very center of the painting, and our non-paradisiac world. But what does it say the deictic gesture of that hand? Where to this triumphant posture is hinting? It seems to proclaim something quite urgent with another fleur de lis. This is a kind of “cheirotopic” statement (that is, with the hand, from Greek cheir) of the artist, presumably. A signature, a trace of his presence, a statement about being there, magnificently crafting, like everything else this specular and spectacular surface of painting. This is the point of artistry when it reaches its climax, where the trace of the hand of the artist paradoxically disappears. Letting instead painting appear by some magic invisible touch. But let us go back to the leit-motif of the fleur de lis as it is twice proclaimed in the painting. Fleur de lis has been normatively associated with the Virgin’s symbol, not that that norm governs this painting, or that it may matter. Rather, what the artist does with this norm matters: his playful series of associations, while acknowledging the old, he affirms something new, refreshing this botanical repertoire, and unveiling the infinite potential of its semantics. Yet Mary’s flower remains nevertheless a virginal symbol here. This is a flower, as well as a spear in the hand of the artist – an insignia of heraldry as well as of mastership – the stylus by which he masterfully penetrates the womb of the en-choric space of creation which is this painting. The painting is a sacrosanct temple towards the otherworldy Paradise, yet to be discovered and unveiled… By us. It intrigues us and incites us to enter (or to reflect upon the painting) because the threshold between these two worlds (our profane world and the edenic space beyond) is seductively flanked by two provocative Floras. For in the painting, the pillars are not flanked by the awesome archangels holding their fiery swords, but by two subtle allegorical bodies of the Floras. Therefore these muses like Floras, wrapped in their longs voluptuous garlands, do not keep us away like at the old doors of Paradise, but invite us to partake in this sacrosanct act of defloration of the painting. To Victor Hagea, homage • February 2017

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:16.9 W x 20.5 H x 1 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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