At first glance at István Orosz’s 2001
etching, entitled Columns III, our
initial emotional response might be to think that we are witness to some sort
of new-Renaissance revival: relics evoking the beauty and greatness of
Antiquity, and majestic remains of ancient edifices that once stood, now in
ruins, appear again in these pictures. And then making a more thorough survey
of the pillar-column ensemble enclosed by a complicated architrave with
ornamental Corinthian capitals, ascending in tiers, precisely demarcated (and
thus contrary to its ruinous nature), in a wild, overgrown milieu, we stumble
upon visual phenomena that are strange and difficult to decipher or interpret,
as we scan the accentuated, dictated vertical axis of the artwork. Commencing
our gaze from below, we are compelled to recognise that the two pillars
standing on a quadratic pedestal and commencing rectangularly, are transformed
imperceptibly into columns while ascending – and certainly playing an
important role in this is the fluting of the pillars-columns into nothingness,
and the capricious emergence of azure bands stretching between them – and in
the course of this evolution, the two pillars will become three columns in a
mysterious way, while the forms projecting frontally from the plane of the base
into the upper realms, are transformed into a heavy and painfully unfinished
architectronic conclusion, also taking possession of the space in its depth.
(To monitor, starting from above, we are compelled to experience inversely the
exact same phenomenon raised to appearances – but use of the concept
“appearance” here is suggested to be contingent and qualified.) Attempting to
dispel our doubts and to clear questions that have arisen, we can formulate our
suspicion that the visual illusionisms generated by the transitions, and
sparklings are blurred, re-coloured, kept in incertitude, and things are
dispersed into presentiments.
Things that are
naturally not of architectonic character, but raised to metaphoric heights and
of a mental nature. In the central space of spirit-mirror-image, refined
confusion is rekindled (the essence of art is error and misunderstanding),
which then imperceptibly takes the upper hand over the entire portrayal, extending
doubt and shutting out formulas and unambiguity. Paradoxes and contradictions,
however, create a kind of balance, and we do not find logical responses to this
harmonious junction, to this harmony that can be synthesised in playfulness:
according to our conventions of so-called reality, it cannot be equivalent to
appearance, even if appearance is equivalent to non-reality. But if we get
beyond the laying out of this seemingly important conclusion, then we finally
are confronted with the essential problem: what can we do with so-called
reality, which is not only a semblance, but really apparently that?
(Tibor Wehner)
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