Dec 6, 2015

Winged Ones












Flight is the nature of Winged Ones. As well as it is of the atoms — one entire universe, tiny, invisible, vibrates on and on through the ages, tirelessly.
Flight — man's eternal aspiration. Wings which would make him fly — still an elusive human dream. However, human experiences of free flight in a dream, equivalent of avian flight with wings, are often so vivid, so pleasurable, so real experiences. It is somewhat unusual, because our senses had never experienced such flight, those kind of experiences did not pull roots from material reality — none of us flew like birds. Unless such flight is real, really real, on some other level of existence, on some level that we have preserved in deep layers of our memory.
Although, on the other hand, we fly all the time even without wings, even in our own, materia and gravity conditioned reality —  we consist of atoms, and their nature is actually flight. Electrons fly over a large space of probability around the nucleus, somewhat similar to orbiting satellites around planets, planets around stars, all the celestial bodies around the bright darkness of galactic centers, while the galaxies themselves are also flying somewhere. 
We are flying constantly and always, but we do not feel that flight, as we can not sense the micro-ingredients of our own building material with our eyes, nor the vast expanse of sky above our heads, but only one bit of it, just one indication and hint of its depth.


From the less visible, finer cobwebby threads, from the bolder and heavier strokes, all along to the highlighted contours of dense ink, in front of the whitewashed walls, the spatial calligraphy of the Winged Ones lays out. Calligraphy, bloodstream, nerve sheaves — which to get through, neuron network with its connections, consciousness and subconsciousness in its branching, treetops, roots, leafs structures, petals, insects wings.
Light — its spectrum, intensity and orientation — transforms Winged Ones from positive to negative, from skeleton to aura. Light also causes the appearance of colors — effect of light breaking against the iron surface. Directly illuminated by a powerful beam of light or set in a dark environment, the Winged Ones can take on the eterical look — in that case they either reflect a light of intensive shine or they barely outline.
In the exchange of brightness and dimming, in the exchange of fullness and void, of the interstitials created by the rhythmic  intersectioning of the spiral lines, the Winged Ones are nothing more than the apparition, barely discerned events, or they could become these any time. As if they're not iron made.
Winged Ones materiality — where it begins, and where it ends, where is a transition or a frontier separating a world of ideas and spirit, with a winged, weightless world — is not clear.

Winged Ones evoke knowledge of the diversity of nature within one and the same being, because the appearance of the Winged Ones is manifoldly variable by the movement and alteration of an eye position of a viewer, and thus Winged Ones can have an infinite number of their appearances.


Whiteness of the gallery walls are replaced by visitors and their movements through gallery space as the live, the moving and exchanging foreheads and backgrounds, creating various structures and colors of Winged Ones. Colors and motions, faces and bodies, inhabit now the dynamics of volumes, the leafing of their forms, intertwining, twisting, spreading and shrinking. They are entering in each others.
A walk from world to world, from body to body, as in the ancient myths of souls migrations. In that interrelation of permeation, a being is always a new whole. A permeable whole, it's equivalently determined by fullness and void, internal and external, light and shade, stillness and movement, like permeability of sleep and awakeness, grounding and flight, the imagined and accomplished.


The Winged Ones continue the multi-millennium tradition of research and expression of universal human preoccupations and aspirations, thoughts and feelings, instincts and desires — in the history recorded through myths and legends, philosophy and religion, rituals and customs, literature and art. Winged beings are archetypes and legacy of ancestors. Humanoid winged beings and phenomena, ghosts and deities, gods and goddesses, sirens and angels, fairies and elves, demons and devils, tell their stories and promote their symbolism through all cultures, they are a part of the great treasure of world's heritage. Winged creatures defile through history, from incarnated light/love — like Eros, creation/resurrection — like the great wizardess Isis, to the darkest and the deepest buried human urges of destruction, personified in Tanatos, Gorgona or Lucifer. There are also winged beings of ambivalent or gray zones like Morpheus, the god of switching shapes, master of dreams, or Erinyes, goddesses of revenge and curses, but also of justice.
We encounter all of these diverse and opposed values and colors of character, both in the constant transformation of the Winged Ones — due to body motions and changing of viewpoints — so in our daily lives as well, very often even unified within the same being, and sometimes the look in the mirror catches us by surprise.


Flight is the nature of the Winged Ones, but flight is also the cosmic law and as such, it is imprinted in us primordially. Flight in a dream may have been the secret and hidden reason of the presence of winged beings through a long history.
The dreams in which I was flying freely were a trigger and a mover, a mystery, the kind of inner experience that is transmitted and spreads far and deeply into the world of wakefulness, inspiring and ennobling it. The dream flight sparked observation and recognition of bonds and connections unconditioned by time and space, and is a living example of permeability of the worlds.
Archaically speaking — a story about the Winged Ones, the flight and the dreams, is a story about awakening of the soul.



The resonance of the inner truth about things — from electrons to galaxies, we fly always and constantly.


Tatjana Bezjak

































































































































































Krilate

Let je priroda Krilatih. Kao i atoma — cijelog jednog, pradavno zavibriranog svemira, koji i dalje neumorno titra, sićušan, nevidljiv. Let — vječita čovjekova težnja. Krila kojima je moguće letjeti — još uvijek nedostižan čovjekov san. Još uvijek ali, iskustva slobodnog leta u snu, ekvivalentnog ptičjem letu s krilima, kod ljudi su ipak često tako živa, tako lijepa, tako stvarna iskustva. Pomalo neobično, jer osjetila nam nikada nisu takav let doživjela, ne vuku korijen iz materijalne stvarnosti ta iskustva — nitko od nas nije letio poput ptica. Osim ako takav let nije stvaran, uistinu stvaran, na nekoj drugoj razini postojanja, na nekoj razini koju smo sačuvali u dubokim slojevima našeg pamćenja. Iako, s druge strane, mi letimo cijelo vrijeme i bez krila, čak i u ovoj našoj, materijom i silom teže uvjetovanoj razini stvarnosti — od atoma smo sastavljeni, čija je priroda let. Elektroni oblijeću veliki prostor vjerojatnosti oko jezgri, slično orbitiranju satelita oko planeta, planeta oko zvijezda, svih nebeskih tijela oko središta galaksija, dok i one same nekamo lete. Letimo stalno i uvijek, ali ne osjećamo taj let, jednako kao što nismo u stanju vidjeti svojim očima mikro-sastojke vlastite građe niti ogromno prostranstvo neba iznad naših glava, već tek jedan njegov djelić, tek jednu naznaku i slutnju dubine. Od manje vidljivih, finijih paučinastih niti, od podebljanijih i težih poteza, pa sve do istaknutih kontura guste tinte, pred bjelinom je zidova prostorna kaligrafija Krilatih. Kaligrafija, krvotok, snoplje živaca kroz koje se treba probiti, mreża neurona sa svojim vezama, svijest i podsvijest u svom grananju, krošnje drveća, korijenje, struktura lista, latice, krilca kukca. Svjetlost — njezin spektar, jakost i usmjerenje — preobražava Krilate od pozitiva do negativa, od kostura do aure. Svjetlost uzrokuje i pojave boja vidljive u detaljima i nastale uslijed njenog loma na željezu. Direktno osvijetljene snažnim snopom svjetlosti ili u tamnom okružju, Krilate mogu poprimiti eteričan izgled — tada ili reflektiraju svjetlost jakim isijavanjem ili se jedva ocrtavaju. U izmjeni svjetlina i zatamnjenja, u izmjeni punina i praznina, međuprostora nastalih ritmičnim ispresijecanjem spiralnih linija, Krilate nisu ništa više od priviđenja, jedva naziruća zbivanja ili to mogu svakog trena postati. Kao da nisu od željeza. Matrijalnost Krilatih — gdje počinje, a gdje završava, gdje je prijelaz ili granica sa svijetom ideja i duha, krilatim, bestežinskim svijetom — nije jasno. Krilate evociraju znanja o raznorodnosti priroda unutar jednog te istog bića jer pojavnost Krilatih mnogostruko je promjenjiva kretanjem i mijenjanjem očišta promatrača, pa zato mogu imati i beskonačan broj svojih uprizorenja. Kao žive, pomične pozadine, bjelinu zidova zamjenjuju ljudi i njihovo kretanje prostorom pa tada zajedno sa Krilatima stvaraju strukture njihovih formi. Dinamiku volumena, njihovo razlistavanje, ispreplitanje, uvijanje, skupljanje i širenje, nastanjuju boje i pokreti, lica i tijela. Ulaze jedni u druge. Šetnja iz svijeta u svijet, iz tijela u tijelo kao u drevnim mitovima o selidbama duša. U tom međuodnosu prožimanja, cjelina prostornog crteža uvijek je nova. Propusna cjelina, jednakovrijedno je određuju punina kao i praznina, unutarnje kao i vanjsko, svjetlo kao i tamno, mirovanje kao i pokret, poput propusnosti sna i jave, uzemljenosti i leta, zamišljenog i ostvarenog. Krilate nastavljaju višetisućljetnu tradiciju istraživanja i izražavanja univerzalnih ljudskih preokupacija i težnji, misli i osjećaja, instinkta i poriva, u povijesti zabilježenih kroz mitove i legende, filozofije i religije, ritule i običaje, književnost i umjetnost. Krilate su arhetipovi i nasljeđe predaka jer krilata čovjekolika bića i pojave, duhovi i božanstva, bogovi i boginje, sirene i anđeli, vile i vilenjaci, demoni i đavoli, pričaju svoje priče i pronose svoju simboliku kroz sve kulture, dio su velikoga blaga svjetske baštine. Krilata stvorenja defiliraju kroz povijest, od utjelovljene svjetlosti/ljubavi kao što je Eros, kreacije/oživotvorenja kao što je Izida, velika čarobnica, pa do najmračnijih i najdublje zakopanih ljudskih nagnuća destrukcije, personificiranih u Tanatosu, Gorgonama ili Luciferu na primjer. Tu su i krilate ambivalentne ili sive zone poput Morfeja, boga snova promjenjivog obličja ili Erinije, božice osvete i prokletstva ali i pravde. Sve te raznorodne i suprotstavljene boje i vrijednosti karaktera susrećemo, kako u stalnoj transformaciji Krilatih uslijed izmjena tijela i očišta, tako i u našem svakodnevnom životu, vrlo često i objedinjene unutar jednog te istog bića, a katkad nas i pogled u ogledalo ostavlja zatečenima. Let je priroda Krilatih, ali let je i kozmički zakon i kao takav utisnut je u nas primordijalno. Let u snu možda je ta tajna i skriveni razlog prisutnosti Krilatih kroz dugu povijest. Snovi u kojima slobodno letim bili su okidač i pokretač, misterij, ona vrsta unutarnjeg iskustva koje se pretače i širi daleko i duboko u svijet jave nadahnjujući ga i oplemenjujući. Let u snu potaknuo je promatranje i prepoznavanje veza i spona neuvjetovanih vremenom i prostorom i živi je primjer propusnosti svjetova. Arhaičnim jezikom — priča o Krilatima, letu i snovima, priča je o buđenju duše. Rezonanca unutarnje istine o stvarima — od elektrona do galaksija, letimo uvijek i stalno. Tatjana Bezjak