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to
up-date the art of magic and the magic of art
typical for the school of poets and philosophers, from the end of
XIX th and beginning of XX th Century, who gathered around Stephen
Malarme and even more around the idea of archetype modernity. We
could say that Gonzales transforms the idea of archetype modernity
into the one of archetype of post-modernity.
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Of
course, when we talk about the extraordinary work of Andrew
Gonzales, regardless of its artistic background, we talk about it
on the level of language and, in that sense, about litotes.
Naturally, we talk about post-modern litotes since modern and
post-modern exclude archetype level by definition. We talk about
it here only in theoretical sense and this thesis is denied by the
work of modern and post-modern artists. And that is the main
reason why we mention litotes here. We see litotes in art as an
implementation in the art work on such level as Hugo Fridrich had
in the field of poetry. At the same time, we should be aware that
Andrew Gonzales does not run away from shape and global artistic
expression of today. Andrew Gonzales is an artist fully aware of
the time and space of a contemporary man and his fields of
interest. However, to be able to understand the complex works of
this artist better, we have to talk about those topics which he
turned into masterpieces, now recognized as archetypes, as
universal values. In that sense, we witness an extraordinary
synergy of the art of magic and the magic of art strongly unified
through a dominant, poetic figure of a woman. And in the works of
Andrew Gonzales we find the synergy of strong impressions,
semantic webs; a woman is magic, a woman is enigma, art,
archetype, new era… a woman is so much more and that something
special, fragile and divine can only be found in authentic art
works of Andrew Gonzales.
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