a square as such is present in aloian's paintings as his conversion to icon - in such a secular work, as "by the window", for example, and for our better understanding, he decorates it with the marks of heroine's dwelling, while she herself is, like the angles, roundish from shoulders to elbows. the marks are: a little country house, an urban chimney, an apple, a temple, a flower. in "blind rain" he composes something like a soaring sunny icon with sun-rays swooping down onto a woman's lap ...
our day, which is deplorably political and bitterly lost, -
is happily absent in aloian's circle. even in "meteostation",
in it's antenna lines and propeller circles, we find more godlike
than human; in "bulgarian donkey" it is easier for us to recognise
an offspring of the one whom rode our savior to jerusalem rather
than the one of chodja nasreddin whose giggle, by the way, is
obviously present here. aloian is smilling - in colour, in composition,
in the thought giving rise to his plots that are never just
literary ones. they are not even plots, or stories, though:
it is more like the air where angels prophets felt at home once,
is now excited by the breath of apostles and jesus christ himself.
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