journey
my
The way is long and winding. Even though I soon had a taste of success, I, like every young artist, still realized that long distance had to be crossed and that the search for total success is endless.
An artist, as I visualized him, has to be able to perceive clearly his deepest emotions.
For years, I travelled to study and to absorb atmosphere. From legends of gods and other heroes, myths arose that tried to explain the yearnings and adventures of the gods. The how and the why thus remains a meaningful attempt to explain the existence of all things. It is in this dream world of allegories, myths and fantasy that my journeys are further chartered.
The mysterious backgrounds of each mythology link up with the most elementary fears, desires and hopes of every person. They give immortal answers to mortal questions. And these answers are often convincing because they, supported by a pantheon of gods, are cast in a human language.
The essence of the myth is the change, the metamorphosis. The blood solidifies to coral, the resin to amber. Dead lovers are magically transformed into crystal clear brooks. It is a constant reminder of the human beauty to which they owe their origin. The immortal becomes mortal. The animal vegetable, the vegetable mineral. It is an eternal cycle, sporadically interrupted by a freak of nature and of individuality.
Via these mythological side roads drifts the creative dream world of the artist, as so brilliantly described and praised by Homer and Milton, by Joyce and Graves, by Mozart, Wagner and Richard Strauss.
The bizarre and the erotic are central in mythology. The “cosmic” narratives are more lyrical than the tales of the Brothers Grimm and more adult than those of Hans Christian Andersen. Mythology is the science fiction of the classical world in which man commutes like a super-machine between heaven and earth.
The vocabulary of the artist introduces symbolic signs. Thus, his message can be read and decoded. A highly developed technique, composition, play with perspective and fantasy, give form to this symbolism. And the language of colour symbolism too, must be understood if one wants to be able to solve all the puzzles. Indirectly and different in rank and status, allegories are like a courtly language in which the words and sayings veil and qualify the true meaning.
This language is graceful and ambiguous and gives rise to more than one interpretation. The complex visual communication is primarily a window on emotions in good times and bad, based on hard reality, often fascinated and dominated by female elements. The tormented spirit of each artist’s imagination is the dilemma between creativity and despair.
The explanation of allegories demands exhaustive knowledge from man. The artistic circle is of itself one of the mysteries of life and an important component of myth and allegory.
The artist who is fatigued with the voice of reason seeks his salvation in a higher inspiration. In the subsequent dream, the result is expressed in images.
His greatest strength: making the visible invisible.
With one stroke, the brush can create an image, an image that can lead us to unknown and even undesired adventures. Fantasy can affect both the sublime and the picturesque. The dramatic reproduction can be simultaneously compelling and terrifying.
These paintings are fantastically worked out visions of the reticence of the spirit. The power of imagination can liberate or keep imprisoned. Fantastic art thus means a daring confrontation with the inexplicable. This last word in the meaning of a conglomerate of language, sleep, insanity, beast and sex.
“THE SOMORE LANGUAGE OF E. BORÉE”
The Bible and Miltonian and Freudian mythology inspire images of a mystical sexuality, deviant passion, demonic paroxysm and heavenly beatitude.
Alongside the situated the mountain top, the highest and the purest of nature, directly opposite the obscure and the depraved.
Finally, fantastic art is a continuous journey through the imagination and the right to prove oneself.
Allegory and fantasy both are the means as well as the proof of the expression of individual values, of a sensate being that contributes his mite to the greatest myth of all time: