umenie art «
it was finished. And I purposely did not smear it out because it appeared to me as fantastic, with a good accent. It’s the perfect moment of some kind of conceptual jewelry, like bloody brooch, red tear. As a symbol of mourning and pain, which she apparently endured after he died in May 1919. It is about a specific uniform and classic Stefanik´sportrayal . She has, not coincidentally, the perfect costume, the acme of elegance. After all, she was a respected girl from a respected family. “ On the next pair of images, we see Stefanik pictured as a man of f lesh and blood. Masculine and attractive. Dressed in pareo – typical Tahitian attire, under palm trees. It was the first ever image of the group of six. “His name is Eripene Hapate. In translation, a man with blue eyes in the color of a sea stream between the coral reefs. That is the way the Tahitans called Stefanik. I paint edit based on the fantastic photo. The photo has immediately addressed me. As most people know Stefanik wearing uniform, this exposure is completely different. Stefanik loved Tahiti. He felt great there, being on a warm holiday in such paradise felt good to him. He had to be a really charismatic man. He had a nice body, eventhough he was a very sickly little man. He had a tiny figure and serious health problems. I admire his ability to travel through Tahiti for thirty days. His purpose was to observe the passage of Halley’s Comet through the solar disk while planning a network of meteorological stations in the Frenchcolonies in Oceania. Even this second picture of this pair, I painted by a photograph. It was a meeting with politician Agnelli. I removed him and in stead I painted Gauguin. Here
I was fascinated by his kind smirk, benignant and to women an interesting smile. I liked this pose of him more than any official, life les sface. So there fore, I perceived it like this. I paired Gauguin with Stefanik in the painting Bonjour, Monsieur Stefanik because I felt it that way. They both have never met before because Gauguin died seven years before Stefanik arrived in Tahiti (1910). It’s just my author´s fiction. Based on the fact that he brought woodcuts from Tahiti made by the master. Stefanik spotted Gauguin´s woodcarving in the fence or in a pig´s manger. He restored it and thanks to him, it has been preserved.“ In the other two paintings there are magical Tahitan women. “One I call Taa Ta Hio Feti a and other Halley’s comet. The woman there differs from the other two in a way that while they feel real and human, she is a bit super‑ natural, divine, and iconic. Notice her tattoo – inspired by Polynesia. People dress in tattoos there. It’s some how natural to them. My supernatural goddess is tattooed with traditional designs from Tahiti and Oceania regions. In addition to the diagonally hurtling comet in the back ground, in the center of the image, we can find a tattooed design of comet thatc omes from embroidered tapestry of Bayeux from 1066. Halley’s Comet is a periodic comet with a period of about 75 years. The last time it was at perihelion in 1986, when it was visited by Giotto space craft. Her forth coming return to the Sun is expected at the end of July 2061. In the painting Taa Ta Hio Fetia the f lower on the right means that the lady is free, the f lower on the left, means that she has engaged and has a partner. This work in translation means A man who speaks (talks to) with the stars. It fits. Stefanik
observed them a lot, as it is documented in his notes from May 1910.“ As a writer whose head, after completing manuscript, is wirled with fates of his characters, even Noemi has not said goodbye to Stefanik by just washing paint from the brush. “Those paintings will ast in me for long.” She says. “I was so over whel med with it that before I dared to paint the first picture of half-naked Stefanik, I had to study him very precisely. First I tried to perceive it by knowledge, organize the facts which impressed me and mainly, painted it as a woman. The ladies were fascinated by him. I am not surprised ... Once I tried to find out how many is metress es Picasso had – and it was truly difficult. Well let me tell you, this was much more difficult!“ In addition to the six parts of the series Noemi painted another picture. Just for her self. Although you shut off the tap of imagination after creative process, the stream of ideas f lows on. This is how Kubanka might have been created. “When were turned from the General Stefanik Memorial, where the tap was wandering around, I invented the engagement of Kubanka with the tap. This work will not be exhibited. This is my private moment.“
text: MONIKA ERDÖFY, MARTIN ERDÖFY
61