Jošt Snoj

Slika – ikona presežnega

 

Nika Zupančič

 

Tomaž Akvinski v interpretaciji Josefa Pieperja pravi, da je bistvo stvari sicer nerazumljivo, ne pa tudi nespoznavno, saj načrti, praliki, arhetipi stvari bivajo v Logosu Bogu, zato so tudi same stvari ˝logoške˝ - svetle, lucidne do svojega najglobljega dna. Njihov izvor v Logosu jih dela za nas ljudi spoznavne, a prav zaradi tega zrcalijo absolutno neskončno luč in tako ostajajo za nas tudi nerazumljive.

Vsako resnično slikarstvo je ontološko, saj se ukvarja z bistvom stvari. Umetnikovo motrenje stvari pa eksistencialno, vangoghovsko vagabundstvo po vidno-nevidnem planu.

Pred menoj se razgrinja množica barvnih vtisov, slik, pravzaprav barvnih gmot, gomil, vgnetenih svetlob in prežarjenih platen Jošta Snoja. Vidim drugačnost njegovih slik, kot jih poznam od prej – občutek lebdenja, transparenten učinek njegovih poprejšnjih del se je umaknil ekstatičnosti barvne tvari. Kot bi se iz samih tub z oljnimi barvami hkrati izstisnil tudi ontološki smisel, preoblikujoč pigmentno nasičenost in oljno tvarino, težko kot glina, v en sam svetlobni odblesk.

Na pričujoči razstavi vidim tri družine motivno različnih slik malih formatov skrajne zgoščenosti in intenzivnosti. Vidim drobce odsevov Logosa. Jošt Snoj je resničen slikar. Kaj je slikar drugega, če ne motrilec večnostnega, iskalec nedoumljivega, a hkrati spoznavnega v optiki ˝vsega ustvarjenega˝.

In po robu in od znotraj ter v globine in višine potuje ta pogled slikarja, mil in neizprosen, brez plašnic … Skrajen, da se odpove celo lastnemu mitu ustvarjalca in vstopi v celostno umetnino on sam; cel človek postane del ceremoniala, najlepše in najvišje oblike umetnosti (Gesamtkunstwerk), kjer sta simbol in resničnost eno. On pa morda le zaslon, morda niti to ne, le poteza, en ˝malerštrih˝ na vitraju tu- in onstranskega.

Trije sklopi: slike pokrajin, brezna pretresljive resnice, religiozni motivi – vse to so ikone presežnega.

Kam potujemo, ko zremo v te podobe? Potuje kdo k nam? Svetloba, resnica …

Pejsaž mi odpira okno v neskončno, potujem, odromam v svetlobo, tja nekam …

˝Nebeški˝ (religiozni) prizori so okna, kjer onstranstvo sega k nam, simbol nam v tej barvni inkarniranosti podaja roko, svetloba žareče magme se siplje v prostor. Simbol je resničnost kot tale brbončasti barvni impasto.

Katarza. Slike z motivi Hude Jame so okna uvidenja. Pogled v brezno, temna noč duše …

Naloga slikarja – spoznavati do najglobljega dna in v rokah držati svetlobno piramido, prizmatični lomilec svetlobe.

The Painting: An Icon of the Transcendent

 

Nika Zupančič

 

According to Josef Pieper’s interpretation, Thomas Aquinas claims that the essence of things is incomprehensible but not unknowable. Since the plans and archetypes of all things exist in the Logos, God, the things themselves have a Logos quality as well, being bright and lucid throughout. Their origin in the Logos makes them knowable to humankind, but at the same time it causes them to reflect absolute, infinite light, and thus to remain incomprehensible.

True painting is always ontological, for it tackles the essence of things. The artist’s contemplation of things is an existential, Van Gogh-like wandering through the visible-invisible plan.

Stretching out in front of me is a host of colour impressions, paintings or, more precisely, colour masses, heaps, enfolded lights and sun-irradiated canvases by Jošt Snoj. I can see the difference between his latest pictures and those I knew before: the sense of hovering, the transparent effect of his earlier work has given way to an ecstasy of paint as matter. As if the very tubes of his oil paints had squeezed out an ontological meaning as well, transforming pigment saturation and oily material, heavy as clay, into a single reflection of light.

At this exhibition I recognize three thematically separate groups of small-format paintings, all of them concise and intense to the utmost. I can see fragments of Logos reflections. Jošt Snoj is a true painter. For what is a painter if not a contemplator of the eternal, a seeker of that which is incomprehensible yet knowable in the perspective of ‘all creation’? The painter’s gaze, mild and relentless, untrammelled by blinkers, roves along the margins and inside, high and low … So extreme is he that he even renounces the myth of his own creativity and enters his work of art himself: the entire man becomes part of the ceremonial, of the most beautiful and sublime art form (Gesamtkunstwerk), where symbol and reality are one. He himself may be simply a screen, or not even that – a mere brush stroke on the stained glass of the here and beyond.

Three cycles: landscapes, pits of staggering truth, religious motifs – all these are icons of the transcendent.

Where do we travel, gazing at these pictures? Is anyone travelling toward us? Light, truth …

The landscape opens for me a window into eternity, I travel, I wander away into the light, somewhere far away …

The ‘heavenly’ (religious) scenes are windows through which the beyond reaches towards us. Incarnated in colour, the symbol offers to take our hand, the space is flooded with the light of glowing magma. The symbol is no less real than the dotted colour impasto in front of me.

Catharsis. The motifs of Huda Jama, a mass grave for the victims of postwar killings, are windows of insight. A glance into abyss, the dark night of the soul …

The painter’s task: to fathom all to its deepest bottom, to hold in one’s hands a glowing pyramid, a prismatic refractor of light.