Totemgirl in Vanuatu.
The yellow of the Sun embraces you, slipping and radiating quickly down and shines in thousands of beams. It is accompanied by Red, the power of fire, streaming like vital blood or the red of corals, the pink of the inside of scallop shells. It is subdued, appearing modestly in human skin, in people’s complexion, in the complexity of faces and the mobility of the hands.¬¬¬¬
Green dominates the bottom region but has a concentric effect upwards: it is the mixture of Sunbeams and the blue of the sea, the freely maturing childishness. It braids, spins, whirls, offshoots, sparkles, flashes and irritably creates a labyrinth. It is the pure Physis-Physics, the runaway, liberated fruitfulness-Nature, not exempt from felonious powers and just because of this it is the testing and proven Genus-Genetics. It is pieced together from point to point, from petal mosaic to amoeba mosaic to create the human being but at the same time with assiduous procrastination it disassembles and disorganizes the earthborn to death.”
“Let us include the Prokop antropos into our examination. Could we ourselves be savages or cannibals? They have a bit less rig unless the artist takes pity on them and throws and beads overalls on their bare body, patterned long-johns or shaman headdress… The figures are not imaginary; they are photo-real, hyperrealist, the perfect requisites from the painter’s photography career. They are emotions; the soul’s plights making us torture and enjoy. The hunter-fighter is suspicious-careful and proud of his bravery. He is a pantomime kid, demonically playing panic, evoking tribal death rituals. He is a distressed baby (as if it were the child of divorced parents), the brashly triumphant simpering in omniscient expectation.
The girl with shells, laughing from top to toe, is just about to kneel on us from the profusion of her gems. They express his everlasting fight for the perfection of nature, and at the same time, his frantic, crystallized joy. And he also brings out what only the God-faced creature, i.e. the “workshop of creation” is able: to laugh and give name!”
”Demons have visibly chased and safeguarded Igor Prokop as he is out for good, what is more, he is a good man. He is universal, i.e. he is preoccupied with the fate of the cosmos. He is fighting his battle for the sacred eternity of Goddess Nature (Magna Mater: Inanna, Istár, Diana-Dana, Babba Mária) in the mountains, backwoods and oceans. He is worried about her nymphs: grass and trees, birds and game, butterflies and bugs, and also about us, the human oddballs. Well, he knows that this fight for beauteous harmony demands egregious bravery. He is not only roving around the unknown world, bearing difficulties but he has to be brave in a crueler, spiritual fight, too, where the chances of victory against evil forces are scant. Still, the sacrifice brings blessings here as well! Igor in his pictures – like all original primeval artists – fights cacodemons, the bad demons. He goes down to Hades, below the visual nature to bring out the evils destroying the Universe. And he does it at a high level but deep below the subsurface to achieve confession. His pieces of art are not unnatural but they are “mythos”, mystically esoterical. Hence comes the feverish excitement of amoeba-embraces, the feverish enthusiasm of incandescent-green swinging swags. But in the jolly demonism the devil is on the watch in the disguised labyrinth, is hiding even in tear drops and sedge nets. And sometimes it reaches such a vehement jinnee dance as do the home-bred Sarmata cursing tamgas. The wee Earth-God-bogey-man is roaming along hidden paths at the core of continents to cause catastrophes. But Igor is a stout fellow! He drags him out to the light of day and creates a world around him and reveals the viciousness rampaging below in the delight of petals. But I can tell you, he jeopardizes his life in each of his pictures. Because the picture is ability (power and mastery) but at the same time it hails the global Harmful Ahriman- Machinator down on himself.”
“Here each patch of color or amorphous shape has a meaning and has its beauty. His works remind us of exotic painters, of Gauguin and might even have relatives anywhere in the world. They match the modern, extravagant trend that bequeaths healthy traditions and appreciates values. They also aim at exceeding onanistic abstractionism, fetishist landscape idyll and interior decorator’s ornamentation.”
Green dominates the bottom region but has a concentric effect upwards: it is the mixture of Sunbeams and the blue of the sea, the freely maturing childishness. It braids, spins, whirls, offshoots, sparkles, flashes and irritably creates a labyrinth. It is the pure Physis-Physics, the runaway, liberated fruitfulness-Nature, not exempt from felonious powers and just because of this it is the testing and proven Genus-Genetics. It is pieced together from point to point, from petal mosaic to amoeba mosaic to create the human being but at the same time with assiduous procrastination it disassembles and disorganizes the earthborn to death.”
“Let us include the Prokop antropos into our examination. Could we ourselves be savages or cannibals? They have a bit less rig unless the artist takes pity on them and throws and beads overalls on their bare body, patterned long-johns or shaman headdress… The figures are not imaginary; they are photo-real, hyperrealist, the perfect requisites from the painter’s photography career. They are emotions; the soul’s plights making us torture and enjoy. The hunter-fighter is suspicious-careful and proud of his bravery. He is a pantomime kid, demonically playing panic, evoking tribal death rituals. He is a distressed baby (as if it were the child of divorced parents), the brashly triumphant simpering in omniscient expectation.
The girl with shells, laughing from top to toe, is just about to kneel on us from the profusion of her gems. They express his everlasting fight for the perfection of nature, and at the same time, his frantic, crystallized joy. And he also brings out what only the God-faced creature, i.e. the “workshop of creation” is able: to laugh and give name!”
”Demons have visibly chased and safeguarded Igor Prokop as he is out for good, what is more, he is a good man. He is universal, i.e. he is preoccupied with the fate of the cosmos. He is fighting his battle for the sacred eternity of Goddess Nature (Magna Mater: Inanna, Istár, Diana-Dana, Babba Mária) in the mountains, backwoods and oceans. He is worried about her nymphs: grass and trees, birds and game, butterflies and bugs, and also about us, the human oddballs. Well, he knows that this fight for beauteous harmony demands egregious bravery. He is not only roving around the unknown world, bearing difficulties but he has to be brave in a crueler, spiritual fight, too, where the chances of victory against evil forces are scant. Still, the sacrifice brings blessings here as well! Igor in his pictures – like all original primeval artists – fights cacodemons, the bad demons. He goes down to Hades, below the visual nature to bring out the evils destroying the Universe. And he does it at a high level but deep below the subsurface to achieve confession. His pieces of art are not unnatural but they are “mythos”, mystically esoterical. Hence comes the feverish excitement of amoeba-embraces, the feverish enthusiasm of incandescent-green swinging swags. But in the jolly demonism the devil is on the watch in the disguised labyrinth, is hiding even in tear drops and sedge nets. And sometimes it reaches such a vehement jinnee dance as do the home-bred Sarmata cursing tamgas. The wee Earth-God-bogey-man is roaming along hidden paths at the core of continents to cause catastrophes. But Igor is a stout fellow! He drags him out to the light of day and creates a world around him and reveals the viciousness rampaging below in the delight of petals. But I can tell you, he jeopardizes his life in each of his pictures. Because the picture is ability (power and mastery) but at the same time it hails the global Harmful Ahriman- Machinator down on himself.”
“Here each patch of color or amorphous shape has a meaning and has its beauty. His works remind us of exotic painters, of Gauguin and might even have relatives anywhere in the world. They match the modern, extravagant trend that bequeaths healthy traditions and appreciates values. They also aim at exceeding onanistic abstractionism, fetishist landscape idyll and interior decorator’s ornamentation.”
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