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Journey to Mount Kaf


Oil on Canvas

190x300 cm

The artist reimagines personalistic elements in mythologies in an acutely intricate and bright context. A layer of personalistic being doubtless rests on all things because all things are nothing other than person turned inside out. Each thing can have infinitely diverse forms of expressing its personalistic nature while retaining its identity at the same time. Myth, for the artist, is not only a personalistic history in this sense, but also a miraculous personalistic history expressed in graphic forms. The elements he borrows from mythologies represent the configuration of his dreams, his imaginations. By concentrating on allegorical and vitally symbolic layers, these are the elements which construct the artist’s own mythological geometry. Light and darkness combine to generate visible forms; if there were only light or only darkness, no visible form would be possible, for the latter emerges only from the interaction of these opposites. In like manner, the one and the other, or being or non-being, merge in the concept of becoming, as will become clearly presently. The crucial thing about this kind of dialectical synthesis is that, in it, the opposites are not simply assimilated into the new concept without a trace, nor are they discarded altogether, but are at once surmounted and preserved. Or rather, what is surmounted is their rigid isolation from each other and what is preserved is their actual meaning. The artist follows this line of reasoning and adopts contradiction and opposition as prime movers to construct his understanding of myth. This way of thinking makes possible the synthesis of two concepts; those are myth and modernity, and their synthesis generates a new concept. They are both surmounted and preserved. In this concept, the universe of myth and modernity are not rigidly isolated from each other; that would render them meaningless. That is, they are surmounted. And their actual meaning only arises when they are viewed in mutual contrast, thus preserved. This mode of thought also causes the artist to reimagine not only personalistic elements in myths but also the methods of their material execution. So that he is able to enclose energy into his art, which is equally effective in the multiplicity of material executions. The artist makes the viewer aware of the synthesis of the myths and the modernity of his culture, evoking the nature of personalistic elements in mythologies. Myth is not an arbitrary invention or fiction; it is not a fantastic fabrication, but a logically or, above all, dialectically necessary category of consciousness. Myth is a personalistic form, ultimately.