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A Passage through India


Dr. med.
Ursula Davatz, Washington, D.C., USA









Da Vaz pursues archeology
in the sense

that he reconstructs places in his memory by

drawing without any intention.



Marie-Theres Stauffer

Life moves in a subtle
corkscrew pattern

with a kind of axis of orientationrunning

through space



Da Vaz



A Passage through India is the sub-title
of the film «The Other Eye», which Da Vaz made in Bombay in 1997.



Da Vaz's works, as mentioned many times in previous texts, are not representations
of the outer appearance, but of inner structural phenomena, of an inner
reality. They are representations of what takes place on the stage of
life.



India is the world's largest stage of sensual experience. Its vision of
colour and gorgeous splendour, the complexity of its multi-faceted human
individuality; the inconceivable wealth of diversity in the makeup of
its people forming a colossal entity; all this diversity in harmony as
well as the intensity of its fragrances above, throughout and in everything:
all these impressions set an overwhelming emotional experience in motion.




This inner emotional turbulence, hardly transcribable into words or terms,
which can only be alluded to and intuitively guessed, is expressed in
the pictures of this chapter. The special technique of the photographic
representation turns the artist's drawings into a multi-dimensional emotional
experience, which expresses the wondrous poetry of the soul drifting by
in a smell, a taste, the intimation of a feeling or a certain mood.



The garbage heap (p. 330) recorded in the film in the city of Bombay,
with the artist standing in front, contemplative, suddenly turns into
a surface shot of a Da Vaz drawing (p. 331). What seems to the observer
to be waiting for its final disposal in various containers suddenly turns
out to be a surprise of structural opulence, a structured tonality as
conveyed to us by music. It is as if he is extracting from things transient
the excess in the waste, thus providing the necessary gamut of devices
from which unforgettable epics, songs and stories are created.



In the «matter» Da Vaz «sees» all of a sudden no interior or exterior
exists any more. Before his mind materiality disolves and destructures
its state. A glance at «Philomena's House» (p. 320) reveals: the transformation
of matter cannot be arrested. The exterior progression of daily life,
circumstances, which Da Vaz enters, assume on account of his presence
the form of an inner structural transformation (p.323), granting the observer
unexpected access to the material world. From this he reconstructs a new
reality of mood, embodied in blurred, escaping structural images. Viewed
in conceptual, logical terms, this is indeed a visually portrayed «fuzzy
logic», which we can call emotional logic.



This phenomenological truth is fugitive. It comes and fades away, constantly
emerging in a different form. The transitions are blurred, the contours
indistinct, not rationally discriminable, being indefinable, and precisely
this induces the feeling of weightlessness, of emotionlessness, about
which Da Vaz says: «My feelings are in the highest state of velocity when
they are without emotion, like the sail in the wind».



In the last chapter of the «Wunderblock» Da Vaz has masterfully captured
and visually represented together with the photos by Bjarne Geiges the
labyrinth of the human psyche.



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