Tezos

Page 14 : « Faustina Soluta »

Creator

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Description

Phase: II. *Solutio* (The Dissolution) The Ontology of the Face: From Icon to Vortex In the progression of the Materia Prima cycle, Piece 14 shifts the alchemical gaze from the foundation (the foot) to the seat of identity (the head). Confronting Plate I, 2 by Charles Bargue—the classical profile of Faustina—this work has provoked a violent “Dissolution.” The noble serenity of the Roman matron is not merely dissolved; it is dispersed centrifugally, questioning the stability of the self in the age of digital fluidity. I. The Liquefaction of the Profile: The Anti-Portrait Where Bargue’s original lithograph teaches the discipline of “blocking”—the rigorous definition of planes and angles—this intervention celebrates the collapse of boundaries. * The Erasure of the Line: The strict outline of the classical profile is obliterated. The “noble line” of the nose and forehead, once a criterion of academic beauty, here twists into a geomorphic event. The face does not look outward; it looks inward, collapsing under the weight of its own psychological density. * Viscous Morphology: The marble of the original reference is transmuted into a substance resembling molten wax or moist biological tissue. It is a portrait of the subject not as a solid state, but as a fluid process of becoming and de-becoming. II. The Chromatography of the Psyche While the drawing of the foot was rooted in earthy tones, Faustina Soluta springs forth from the chaotic colors of the inner mind. * The Arterial and the Digital: Violent crimson streaks (Rubedo in potentia) clash with synthetic blues and spectral whites. This is not simply pigment; it is a representation of the naked nervous system. The red suggests the biological warmth of life, while the blue introduces the cold, electric glow of the screen—a duality between flesh and dysfunction. * The White Fascia: Thick, white ribbons, like impasto, weave through the chaos, evoking exposed fascia or cranial bone, frantically trying to maintain form in the face of the entropy of the background. III. The Entropic Gaze: Blindness as Insight The eyes of the classical bust, usually empty and stoic, are here completely absorbed by the flow of matter. * The Loss of the Subject: The viewer can no longer identify “Faustina.” The subject has been stripped of its historical name and reduced to pure sensation. This is the moment of Solutio (Dissolution): the separation of Form (the mask) and Matter (the paint/pixels). * The Cerebral Vortex: The swirling movement suggests an inner dissolution. It is a visualization of thought overwhelming the thinker. The skull is no longer a container, but a permeable receptacle where memory, history, and digital noise mingle indistinctly. Curator’s Note: “Piece 14” functions as a critique of the “Ideal Head.” By plunging the classical Faustina into the mire of the Nigredo, the artist exposes the fragility of human identity. It is a “faciality” in crisis. The work poses the question: what remains of humanity when the rigid structures of tradition (Bargue) are melted by the heat of contemporary anguish? It is a collapse that is both beautiful and terrifying—a digital gorgon that transforms the viewer not into stone, but into liquid. Technical specifications: Source: Plate I, 2 (Faustina), Bargue's Drawing Course. Method: Digital animation using Combine Painting. Basic elements: Clay, wood, canvas, acrylic, digital paint Concept: Subrealism / The fluidity of the ego. Philosophy: Alchemy (Separatio). Format: 8K MP4 Video | 1 min | 7680 x 4320 | [183 MB]