Page 41 - THESEUS PORTFOLIO 2

Exotheric and ezotheric. Outer and in ner.
An artistic project by Theseus Aleksandra Cupiał and Szymon Parafiniak has been operating for the last few months within a new phenomena in visual arts. lts distinction is a game between an iconic identity of painting (acrylic)
and photography. Such a way of aesthetic interpretation of the world (within forms and ideas) leads to combining two disciplines of art inte one value in of dual icons. The relationship between the optics of photography and pictorial
ideas affects perception in an intriguing way. Contemporaneously, this confirms the modernity of both the formation and visually-aesthetic formula, which have been used here, because these are statements related to well-thought
measures in direct and indirect usage, as it takes place in case of Theseus, of the expressive potentia I of photography, which li es at the root of essential, innovative in character art genres. This has bee n known for al most two cen-
turies.
Progressive model of an iconic game which is played by the pair of artists, being quite compelling, uses prima I philosophical and sacral figures, which is frequently the archetype of a labyrinth. What is encountered here are evocations
of labyrinths in same way caught by photographic technology, although there are also colourful expositions which offer a wicie and pleasant choi ce. In the monochromatic category, there arises same visual phenomena which are
close to an afterimage mental experiences similar to optic physicality or visions which are difficult to explain.
Most importantly, the effects achieved by Theseus are attractive in perception and evoke interest by their influence on viewers. Such values and performance guarantee the artists a high position in Art World. This may be due to the
fact that they combine an excitingly modern search for visual forms with a stili prevailing message of archaic, universal signs as well as cultural and spiritual models. The artists encourage the viewers to read meaningful codes hidden
inside their labyrinths. Therefore, as far as iconological interpretation is concerned, the measures are intriguing by accommodating the outer with the in ner, in otherwords exotheric with ezotheric. As it can be observed, various
possibilities of thought sequence accompanied by aesthetically-emotional experiences are revealed here, which has bee n achieved by means of focused light.
This light plays the role of an artistic and semantic keystone because, just like light, the performances of Theseus have a com pl ex n atu re: physical and mental ones. Light touches shadow and they interfuse in an intermediate sphere.
The elements present in the art byTheseus evoke questions concerning aur cognitive possibilities, the way that light will not permeate shadow, cognition and understanding (gnosis) seem to rema in powerless aga inst the contents
and truths which have been hidden from us. Therefore, we need to be aware that we are not tal king abo ut absolute va lues here, like in case of the light and the shadow, but abouttheir symbolic representation.
Due to the artefact of Theseus, it turns out how voluminous the symbol of a labyrinth is, leading us to the meanders of cognition and aur way of life, at the same time showing aur lostness in an attempt of finding the way out. This
is a strong, vivid metaphor, which is not only the topos of straying, but also the clue to look for the solution of the mystery of existence. We seem to be encouraged to find the way out of the complexity of existence. Perhaps, there
is a reward waiting for us as the result of aur frantic efforts. This reward may be finding the treasure which has bee n hidden from us. In my opinion, the Holy Grai I of the labyrinth provides light for the spirit, directs us towards the
intuition of wisdom, gives a foretaste of happiness, acceptance and lowering the me-world opposition. lt promises to achieve a certa in point where fear and shadow disappear. All doubts seem to be possibleto overcome in the co-
gnitive process, which will result in descending of permanent unity over all dualities.
On the other hand, the vivid, relevantly artistically re-captivated and formulated symbols can be read as an attempt to shelter. This is related to the determination to overcome our innate trauma of exile. The first one which subcon-
sciously burdens us, took place in Eden. At least, this permeates us culturally.
The bird’s eye view of labyrinthine corridors evokes the feeling of being observed and followed. The atmosphere of panopticon raises haunting questions about aur place and the rightness of aur choices. This may be associated with
the persecutory delusion abo ut a trial in which we are marionettes in the hands of relentless, mocking sadists who constantly crave for suffering and painful discomfort for their masach i st victims. The contents are concepts like: deal
and system. The atmosphere of des pair is likely to prophecy the unalterable new order together with the destructive end of the foregoing world. □oes that mea n metaphysical shivers of the following statement: navigare necesse
est vivere non est necesse (to sail is necessary; to live is not necessary)?
The artists have outlined aur innate dualityvisible as the rush towards both: life and death. Supposing that the light symbolizes hope, and then the labyrinth’s poignantly complicated corrid ars reflect the deadness of certain places,
which emphasizes the lack of a natura I perspective and horizon, which are needed in an anthropological way. The urge to escape plays a game for the better with the atavism of hiding and proceeding towards the nothingness.
All of these thoughts are evoked by a successful structurally meaningful combinatorial ana lysis and aesthetic performance of Theseus. lt is expected that circling around the uncertainty of the outside world will not be everlasting and
that the re is an in ner stream of an u n barn ego, which the ci reling leads to.
The winding paths of fate are shown without Minotaur and Theseus to refer to the myth. lt proclaims that all aur difficulties have been overcome. Concurrently, this is an all-over moment, the re are no hostile characters, actors ofhi-
story, who personifyopposite,and forcesfighting againsteach other. Hi story has been crossed, it is all over.
Since limitations have been overcome and a victorio us(?) battle has bee n fought, also for the enlightening gnosis, being beyond the in ner and the outer, saving mindfulness is the last thing which should be dane. The journey con-
tinues ...
Piotr Głowacki
THESEUS
www.theseusart.com
Artistic collective brought to life by Aleksandra Cupiał and Szymon Parafiniak in 2016. The artists create paintings on canvas, video and sculptures. In their works, the artists focus on the search for energy, light and movement. Currently,
the THESEUS collective is implementing the ELEMENT project insp i red by the ancient Greek concept of the elements and Plato’s regular polyhedrons, which the philosopher assigned to the individual elements.