Curator
Andrej Medved
Huzjan’s “mouthpieces” may be viewed as demarcation of the Senses from the spiritual, about an enigmatic image-drawing where there is no “danger” of primary suffering. Although all the symbols that appear in the paintings are quite recognisable, a dimension that is not only one-way, unambiguous, but is also charge with a kind of spirituality, a magic, that instantly occupies the space around the “shrivelled” figures, which are painted with a kind of vehemence, purposefully rugged, rough, rigid, but in reality refined, drawn (since it is primarily a Trail, an internal-external “engagement” on the surface of the canvas) with a masterful touch; a principle of the consecrated priestly elite.
“It is as if a new Earth has emerged,” as Deleuze would say. The features are in fact irrational, “involuntary”. They do not illustrate the image, they are not illustrative, nor are they narrative. They attain their meaning by merging with the Senses, with spirituality, which pervades the drawings and which is “in the service of” other forces, invisible forces that seize the image. Figures, figural depictions have thereby become signs that no longer depend on our will or that of the artist; or the View. They are independent symbols, semeion mega, big “blind” Symbols that speak solely in their own name and testify to the intrusion of the “other world” into the visual world of the depicted figurative primogeniture that we are witnessing in the present moment, hence becoming witnesses to the preservation of his essence.
This gothic line with which Senses are drawn, the feeling of the beginning of Being and the birth of the Figure, this “Gothic” painting of things and between-things is not a manual space, but goes from line to point, from point to point. This straightness of the drawing, the “impermeability” of the image, this space that is imposed on us only by a stroke, almost colourless, where the tension of the situation and alien forces and powers that rule space and the figures in that space, the figures in the void, which now fills, right to the brim, the world of experience that we are still capable of; this contraction of the figure, this movement(ness), bending(ness) of the body, which communicates unknown testimonies and the deepest messages to us with its form. This message, new, renewed, affects us now, suddenly, and deliberately. Where the triple “liberation” takes place: the body, the colourfulness, which changes into a monochrome existence, presence, and the plane of the image; where the nodes of perception and the Perspective are concentrated in a single point, in the field of vision with an absent horizon, in a plane (in the desperately flat plane of the drawing) which now strikes our view without perspectival depth, without profundity in the usual sense. The body shrinks, falls, stagnates; all planes – internal, external – merge at the point of the Lighting.
The figure is positioned in an empty and filled space, in non-spatiality, everyone is in the foreground, on a shutter that is closed-open, self-in-itself, at the same time essence and presence, completely shattered and disintegrated, but still balanced. Here, the emotional harmony of form and content is reaffirmed, which directly corresponds to various pictorial stories, the concept of psychic images, which the painter now repeats, keeps repeating, “portraying” them again and again. Commitment to certain approaches in terms of an artistic code or pictorial form allows him to focus on separate pictorial elements, which he playfully, in the openness of choice, moves here and there on the canvas with unwavering imagination. In each image, living matter is in the foreground, a vital – vitalistic – substance of psychotic content, which is the “basic mechanism” for reviving the morbid (in the sense of softened and decomposed), primary event, which he explores in all the complexity of its setting and/or placement to reveal the personality traits, the characteristics of the depicted portraits. These are the images that the artist considers both as still lifes and portraits in all their diversity, complexity and the peculiarities of the psychotic state, which outwardly appears as an extremely expressive type of weaving; namely, painting as a direct, potentiated, contrasting experience.
