“My world is beasts, animals, birds, snakes, creatures and fish. This is my subject and this is my world and I try to paint my world.”
Art is like a journey into the unknown of what is known
What I do,
or, believe in,
is mine.
Not because
I was taught
or shown,
but because
of the experience
I shared so proudly
with my heart
and deeds.
Gunnar Neeme
Never Again
This extraordinary collection of drawings and paintings could be interpreted as a kind of reconciliation between the revealed truth of consciousness and acquisition of mystic knowledge inherited from ancient traditions. The dream and reality seem to constantly haunt the artist. To illuminate his work with moral conviction, he has developed a deliberate way of distortion of images and forms. Yet there are no proclamations nor programs, but individual meditation and inner communication with an unbounded freedom of creation. All his images create a haunting power of fascination, presenting us an unfamiliar world of inner thought. Recalling the past, prophesying the future and explaining the present. To achieve this effect, the artist has modified his technique by abandoning the easel and orienting the table compositions toward a specific climax of images. Thus, creating a kind of infinite or atmospheric space by reducing the human form to its diagrammatic essentials. The dream and reality that seem constantly haunt the mind, can be described as the purgation of emotions through the experience of art. The results of which is a spiritual release. As the happenings comprised of improvisation, chance and random activities have liberated the images trapped in the subconsciousness. The utter refinements of spellbinding approaches appear almost like Freudian symbolism of subconscious human experience. The whole collection is an abstract discussion, which we may call a super wakefulness or subconsciousness. An inner self illumination of magical conception of the world and the man.
A whole idea as well as execution has definitely a magical aureole about it. A sort of shaministic quality with courage added to the awe inspiring vision. One has a feeling, that the has summoned all the ancestral spirits, as if through the utterances of an oracle, to his side. Whatever the artist says, may sound to the ordinary viewer a surrealistic and often quite unexplainable, yet it makes the viewer to stay awake during tranquil nights wondering.
Story Teller
The space in which Felix TUSZYNSKI provides imagery containing indications of lyric linearity, recedes into the association of dimensional reality, suggesting something of the metaphysical content related to abstract expressionism. Definitely, it is not a ‘pictorial’, but an ‘optical’ concept. A mirrored selfless laced with tension and tragic reality of intensity and anguish. Thus creating a chromatic interplay, where the inner and outer experience is presented as fragmented moments of seeing and believing. As a whole, it is not a visual presentation of memories at all, but the result of those memories. It seems that to the artist a dream is reality and the reality is a dream. Felix Tuszynski’s approach and solution contain multiple forms of alternatives, composed by means of continuously interlocking pictorial moments. It could be interpreted as an emotionally intimate invitation into the mysteries of unknown experiences. Although various schools of mysticism differ in detail, they all emphasize the importance of basic unity of art. To become aware of this unity, one has to identify himself with the ultimate reality, known as enlightenment. Thus unfolding the endless impressions and ideas of the artist, all juxtaposed to create an original statement.
The Flower of Dead
His constant use of geometic pattern, that seems to repeat itself without any apparent connotations, is a way of mysteriously bringing forth what has been denied and also avoided in everyday happenings. The astonishing similarity with that of Taoist occult diagrams, has an obsessive quality that can haunt a mind and cause it to see the whole life in a new way. Touching the subtlety of the endless thoughts that pass through his mind, as he draws a visual conclusion of his own physical presence in dreams. The whole concept is linked to his effectiveness and capacity for creative action and realization.
Everything is dictated by his innermost emotions and understanding. This is also the reason why he is endlessly probing with a sensuous enthusiasm for deeper philosophical meaning of the miracle of the meditative world. A world of inner happiness and poetic imagination, mystery and exaltation. A sort of inner meditation about regret and desire.
Faces
The seemingly casual shapes run like lietmotifs around metaphysical contents of rhythmically thematic variations, segmentation, reassemblages and recommendations of thoughts. Apart from optical vibrations and afterimages, the view may experience sheer sensuousness juxtaposed in contrasts, both subtle and striking. In the realm of art, one must always be prepared to have a second look, for only careful consideration and feeling can bring about the heightened inner experience of appreciation.
Felix Tuszynski, as a dreamer with third eye, is fully conscious of the human world. Leaving behind the traditional concept of art as an imitation of nature, he explores the man, his mind, spirit and imagination. Most certainly will he agree with Goethe’s dictum, ‘that feeling is all.’ Especially when one observes more closely the almost invisible geomatic currents in the shape of talismanic composition, forming a curious mixture of spiritual cult of calligraphy and artists’ own performance as a magician of the supernatural.
Art is a ritual that mankind has enacted throughout time immemorial. It is an act of reverence for the mysterious energies that are the cause of life and living. This is why there are no programs nor proclamations in the art of Felix Tuszynski, but individual meditation and intercommunication with an unbounded freedom of creative expression.
Gunnar Neeme