The basis of Huzjan's pictures is the abyss of the human body and the abyss of the author's subconscious which comes to the light, to view, trough a net of manual rythms and strokes, colour breaks and transitions. Only thus can we discover the compressed and hidden force, some kind of transcendental Power which sems to be in the internal phisycal psyche and painting. The picture is now a revelation of - a quest for - a missing body that was lost in art hisstory and became only a cliche, a kind of attitude, a "pose" and illustrative example; an emptied and hollowed form. It is thus necessery to plunge into the picture and behind the picture, to plunge into the live, movable tissue of the body of the painting and the subconscious and the spirit which has no a priori form, but in its mystery and sanctity, and spirituality, is the light and source of solar colours, the source of chromatic substance which only forms the figurality of the picture. It is necessary to plunge into the abyss, into the void of the pictorial body, into its "bed" and "breeding ground", into the space of rolling - incobation - of all images in which it is the matrix of all forms, beings and matter.
This pre - archetypal - matrix is that which Plato in Timeus caiis "hora": "Thus the place of nurthure of that which has been born, moist, coupled and spilt, formed of air and earth,appears infinitely diverse. However, enequal and imbalanced forces obstuct any balance, tough the "breeding ground" ceaselessly shifts in all directions. They shake it, and in turn it repulses their power whit new tremors. Subjects which it represents now here now there split among themselves. As whit the aid of a sieve and other preparations for purifying the grains of wheat it separates wheat from the chaff: the havy and strong on the one, the rare and light on the other side. And in the same way reality gives branch to four elements which you recieve and - like a sieve - mediate movement, shake them"(J.Derrida,Psyche,Ed.Galilee,Paris 1987). Hora is some kind of "transcendental neutrality" which enables the setting in space of all figures, the of space and ever new artistic creativity. Impregnation is important for hora, saturation with unresticted posibilities of design; the "figurative givens" are present in it, which can be followed and clicheed, or they enable original forces, "tensions", "feelings" that function at various points and relations and levels of the picture. Hora is pre-primary-figurality, a gestual pre-matrix, since only from it and with the aid of artistic "hysteria" alone arises optic and haptic reality, that is to say a haptic paysage when the awekened figural form (e)merges from the abyss into the painted surface.
We could talk, tougether with J.L.Sceffer and J.Deleuze, of a real "exchange" of hysterical functions and about art "monsters", which the strokes, colours, movement of the hands form on the picture. That the final result is always the image of some exaggerated corporality that emerges/protrudes from the bacground; in another field of its own portrayal. Thus duality of the body, the schizoid gesture, is really the foundation of the image which only enables figural form. The pulsing of the bacground, the denuding of the painted screen, its deconstuction and extension into space in "points of light" represent the authentic body of the painting. The so colled "manual chaos" of lines and strokes becomes now the primary space of representation. The tempest of colour and gestual rain obtain instantaneous figural status, which does not recognise any real space but burns in the flame of its own psychic charge as the scene of all spaces. The body which is thus created is a heterogeneous being, phantasm of some body that is not historical and narrative, although it is not outside history and western iconography. The body in Huzjan's pictures is a mythological being with number of symbilic meanings which, despite the mass of levels, becames the basic matrix of the painting, its "mobile reference".
The image as "l'instance de contraposition au champ figuratif" according to J.L:Scheffer (in Flood, plague, Paolo Uccello, Ed.Galilee, Paris 1976) enables the creation of a new figuralitiy which is not replicative and ilustrative. Thus it also creates a new optical titality, deoendet only on the colour spots and lines, and on the among the artistic elements. The net of lines "encourages" the field of the picture and does not represent another as only itself. The status of the figure-figurality which simoultaneously merges and emerges in the bacground defines the pictorial act, that is to say painting as a "separate reality".
MURISCE - HORA Hora (according to J.Derrida, Khora, Ed Galilee, Paris 1993) is foreign to a subjective approach, understanding of things, foundations; it is closer to mythical thought. In Plato's Timeus, this expression for "non-contradictoriness", is binary logic, which unites all contrast and in contrast with logic, which the Greek philosophers developed. Hora is neither sensible nor intelligible, it thus into some third characcterisationn which is almost impossible to define. It is also foreign to the paradigm, a paradigmatic approach, to which we are bound when we characterise things. However, although invisible and without defined form, it partakes of aphoretic logic. So it is not possible to understande it in the sense of legithimate natural logic, which defines all the properties, but as a sort of hybrid that presents itself-appears-as in dreams. Is hora thus the boudary between logic and myt, that is to say, external to categorical thought; or is it the boundary space which only gives-enables-the "space" and any kind of form spatial presentation; and thus "importance" which is the bassis for the substantiation of matter?
What we see in Huzjan's pictures is not an oscillation between two dialectical breaks, nor any kind of double "exclusion" (in the sense of neither this nor the other), that is to say that it does not participate in this or that property; still less does it lead some existance, being, in a parallel or meta-logical state. Since in it, in this special state, is simultaniously sensibility-intellibibility, blurred-clear, form-formlessness, which is confirmed in some other state, for a number of ways of being whic differences of existence at the start determine, when matter is not yet divided into sexually separate substance; when it is stil simultaneously objective-subjective.
The space of creation is the "womb" hora, the "breeding ground", that we cnnot finally define, classify, name. Thus a metaphor for something which is not instumentalised in the recognation of images, which cannot be simply explained; what all matter-and-being in some way determines, or is determined by it in the sense of naming; that is to say, that it is not active, and still less passive. The erased difference, duality and polarity which is the property of "wombhood", the "breeding ground", that enables growth, formation, ontological duality, that is to say, general, predialectic diferentiation into man-woman, logos-mythos. The womb hora means space, spatialisation, but prior to any formed state, and thus an anachronistic pre-being which is not yet arranged in some final sense, telos, still less in a structure that carries within itself some development, teology. So we can talk about the hermeneutic nature of hora, its schematic nature, which is never already figural or typal, trophic, interpretive.
Hora is not yet subject nor subject, subjective; it is not yet a "bearer", the artistic base, although substantiated, is always unformed and amorphous. That is to say, a lack of definition that only allows amorphous forms. Your reception of the figure and form is, though, such that it only gives-enables-its space. Hora is neither arranged nor in any way already eidos; nor is there in it the pre-image of eidos, but it represents some "collector",an undetermined "nurture ground". Existing matter in it has not yet formed beings in the sense of ontological definitions, although physis and dynamis are present in it. Hora presupposes a difference between word and concept, concept and matter, sense and referentiality of depiction, meaning and value-the naming-of all the properties of existence. It is a multiplied space in which are fertility, individuality, typing and constuction of being only into its pre-object phase, into its nonsubjective plan. However, we can talk abouth the "womb" of hora if we call it a "breeding ground"; a pure, untachable, but at the same time physical, dynamic, amorphous materiality without any kind of real reference.
The beings that we recieve, that emerge from it, are undefined and lack the properties of being; that is to say, they are neither male nor female; the "womb" of the hora only enables-prescribes-all properties that are later formed into the subject; which are at that moment whitout real value, identity; unhistorical, apolitical, and a-social. Hora thus gives, enables all spaces and definitions, though it does not mediate them itself. It present nothing in reality, but only contains a background that is substantiated but presubstantial. And this presence, which is simultaniously also an absence, is always only binary, pre-dialectic creativity, the pre-subjective given, the source-matrix-of all forms, properties, beings. Pre-philisophical, mythological existence which does not admit to Hegelian synthesis. Can we thus talk abouth the impossibility, the impotence of hora, whic is nota teleologically setteled; which is none other than production of images, impressions, traces, some kind of "maternal base","support"; some kind of cosmoc pre-forming space; a void, abyss, breach, a gorge or hollow in which primeval forms are born, in which there is infinite possibility of being and representation? A void chaos and the source of matter which emerges everywhere in order to be lost again; an infinite living seething of yet unformed existence.
To Zdenko Huzjan's works - To Lojze Logar's works
This exhibition is provided by Janez Stefanec's Netgallery.