2007. október 6., szombat

Miklos Hegedus

"Our every sense" writes the poet Paul Valéry, on the subject of sensibility "is an apparatus for interpreting the unknown". One might add that the artist, too, perhaps, would like to make visible such things which are originally unknown to him. Contrary to the public belief a rough path does exist between the imagination and authentic artistic realization. The artist needs great mental and visual flexibility, he must be vigilant, so that his public, too, is disposed to "interpret the unknown". But can the words be found for such an interpretation, and are they even necessary? Would it not be more expedient at the high-point of accessibility, to allow interpretation to drift, permanently? One needs to be a fine painter indeed, to make such fruitful contact with the hard-won sensibility of the viewer, who desires to peep beyond the bars of everyday experience. In such a fortunat e case, this conserved visual attracting force may act as a representation of "the symbol and its meaning" which recurs in art-history applied to non-figurative art.
A close approach to the pictures of Miklós Hegedűs demands exactly this sensibility, accompanied by thought. The painter works the surface purposefully or instinctively, with an amazing patience - in such a way that enigmatic motifs and such colour forms appear which craftily contrast or combine with one another, leaving our sensibility for signs and colours not a moment´s rest. There are colours which are very dear to him ("with yellow man accepts the form which the Gods entrust to him, while white wanders to important places"). Although not only these, but other colours in his paintings, and in modern art, demand a unification of the metals of the aesthetical and the ethical.
This unity is not ostentatious, as the surface betrays a hardly peceptible energy(colour)-network, so the motifs and/or colour-formations allow us to reach a sense of pictorial mysteries which wing through time and space, through the bare existence of man. They reveal themselves only to the extent necessary for us to form in ourselves an imprecisely defined mythical mood, or to discover for ourselves a sacred place or series of events.
The titles can be understood as jigsaw-puzzle pieces, interlocking: The Beginning, Terra Incognita, Palace of Fire, Temple, The First Man, Celebration, Passage - all unmistakably suggest a mythical atmosphere.
The artist who turns away in silence from the roaring today´s world to tackle such themes, can identify with the words of the poet. who playfully casts himself as alchemist:
Gold is just a distant goal, perhaps a mania,
but searching for its secrets everywhere
I have found such treasure,
of higher value by far -
the desire to search! This passion!
(Károly A. Berczeli)
Ottó Mezei

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