The Illusion of Freedom - Liberated Letters

Črka sama po sebi nima pomena, razen, če jo z drugimi združimo v besedo, ki jo postavimo v določen kontekst. Črke, razmetane po platnu, pisane v vseh štirih smereh ne povedo ničesar o besedah, iz katerih izhajajo. Slika je nastala ob poslušanju glasbe, pesmi s čustvenimi in družbeno angažiranimi besedili, ki jih je pel Ronnie Drew, nekdanji član skupine The Dubliners. Črke so elementi besed, ki tvorijo besedila pesmi. Po svoje na tak način ustrezajo Marinettijevim osvobojenim besedam, s tem, da so črke osvobojene pomena, ki ga nosijo združene v besede. Namesto hrupa, ki ga je Marinetti dosegel s staccato nizanjem besed, je tu tišina. 

Izločene črke so navidezno osvobojene. Če jim odvzamemo sposobnost tvoriti besede, ki jim dajejo možnost sodelovanja v pomenu, jih v resnici nismo osvobodili. Samo izpraznili in odtujili smo jih od samih sebe. Kot odmev Munchovega krika, z rdečo barvo poudarjene tesnobe, strahu in zaskrbljenosti spričo smeri v katero gremo. Rezultat – naše življenje, odnosi in razmišljanja postajajo vedno bolj abstraktni, zaznamujejo jih praznina, površinskost in odtujenost postmodernega sveta, ko je pred vsem pomemben videz, z vsebino pa se nimamo več časa ukvarjati, četudi so za lepim videzom težka vprašanja.

Kot je pel Ronnie Drew (in slika tudi): »We'll rise again!«

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Like I said before, a letter in itself is devoid of meaning. It has to be combined into a word and put in a certain context. Letters, scattered on canvas, written in all four directions do not tell anything about words, which they come from. I painted this painting while listening to Ronnie Drew, former member of The Dubliners, singing songs packed with emotional and social content. Letters are elements of words, and I remembered the futurists and parole in liberta. While Marinetti liberated words and achieved noise by their staccato pattern, I achieved silence.

 

Solitary words are an illusion of freedom. They are not free, if we rob them of the ability of forming words, of a possibility of being part of a meaning. We only emptied them and alienated them from themselves. It's like and echo of Munch's Scream, fear, frustration and worry painted in red, disquiet about what the world is become. And the result - our life, relationships and thoughts being more and more abstract, emptiness and alienation of a postmodern world, when appearances count and no one cares about difficult themes.

As Ronnie Drew (ant the painting) sings: »We'll rise again!«