Duplicitous Icons of John Rusnak:
Concerning a Unitative Vision
by Mani De Osu
In the Center of the Western World, John Rusnak is making stride in the miring world of which we call Art. The appearance of his new series, Duplicitous Icons, amongst throngs of the non pervasive, unmoving and unchallenging slough of ideas showcased at galleries in the City of New York, has given a much needed exhalation after so long of holding one's breath waiting to see art that moves. After so long of waiting to see art that has spirit and skill, new technique and new perspective, Rusnak delivers a unique process that captivates the eye by a candid application of blood-rust paint over a silver gelatin plate, the entire image then pigment printed on acid-free foam core to give an extricated essence of his aim. Displaying a Multiple Perspective Fragmentational (MPF) view through process and content, Duplicitous Icons takes the most recognizable icon in Christendom and paints it a relic of the emotion it evokes. Myriads of crucified saviors in close quarters photographed abstractly to bring forth the hidden emotions of coital flavors and sultry disdain of the security and scarcity in religious iconic sympathies. The security in knowing your faults are in the hands of the Holy Father and scarcity in the thought of that not being enough to end your pain. Holding an icon as the symbol of salvation through ultimate human suffering as a banner and a cross to say that our fallacies are justified in the touching moistness that arouses urging desires to swell and succumb to our wildest dreams of touching the father so that he may touch us softly and privately in return giving way to the vividly cold, metallic hold in antipathy, hailing all sides of the spectrum to a unified display of duplicity. Rusnak says,
"I believe that in art, as in life, there is a certain duality
as well as a duplicity in most things, and that each thing
becomes a configuration of it's own history with each
day and a configuration of the days leading up to it."
Between the opposing sides of dualism and the tension inside of duplicity, a central space is found and the mounting sensation that can be felt but not altogether named is the essence evoked by the forging of two converging notions. Duplicitous Icons was born out of a project originally titled Crucifixionalism which aimed to induce any and all feelings, connotations, allusions, sentiments, memories, opinions and/or beliefs regarding this icon beating at the center of the heart of the white occident in attempt to cinematically scrutinize the willingness of the populous to step forward together into the 21st Century. This step into a new age is paramount for Mankind for it is the step of Unified and Culminated Beauty. The 21st Century offers the blooming grounds for things never seen before by Man on Earth: The ability to be in two places at once, the faculty to travel at lightening speed, to have conquered the water and the sky with vessels guided by electronic systems flying and sailing themselves practically; mapping the genome finding the structure of DNA the very miniature mimicking model of the universe, relating scientifically into the ability to understand the quanta, experiencing the theory of relativity in action freeing ourselves of earthly bounds to touch the face of the heavens with wings of mind, the digital age has brought an entirely new brilliant facet to human life. But to truly surmount the past, it must be appropriated and assimilated as a medium to be wrangled and used to the present advantage, a challenge must be brought back to the conventionalists to reach past pretty feasts of baseless delights and to the filet mignon of Humanity's Spirited Heights. Artists are the individuals who put forth the blazon images to hungry eyes looking for the new way and John Michael Rusnak is conferring in provocation to the personified, archetypal, connoisseurs if their eyes are willing to open to a tangible inner dialogue, pushing art back to the province of spirituality through presentational reflection of central plights in the recent history of western culture to obtain the source of collective social ills holding the spiritual progression of society malnourished in Famine's Wake. If these things elapse unaddressed, the inability to let go of the old to embrace the new will make a continued mockery of the Human experience and potential. The current state of affairs in the World of Art will remain an orgiastic, bourgeois, permiscuosity meant only to satiate a single moment in lustful desire of conquest, fleeting immediately to the hollowness that only just was, leaving that insatiable hunger for more. But that is not what the 21st Century is. The 21st Century is the new age: The Age of Beauty in New Discovery. It is the Age of Neoillusion in which a Unitative Vision is concerned through a Multiple Perspective Fragmentational (MPF) view of the world in progressive ascension of bird's eye view and Duplicitous Icons is offering one of the multitudinous views of the new age through Iconic Reinterpretation. Re-illuminating the iconic view allows us as 21st Century Citizens to open to the vastness of the Human Endeavor, using Art as a vehicle as it has been used in ages past to enlighten the Minds of Humanity enabling us as key holders to unlock the door of unforeseen beauty and splendor not yet witnessed by human eyes looking in binary tones that color the sight in Unified Gaze. The Witnessing is the prize for crossing the threshold into uncharted territory. The Unified Gaze is the summit and the crest that propagates Humanity into the knowledge that the Individual is the Cosmos and the Cosmos is within reach in our fellow Mankind. There will never be a time when duality and duplicity are not present and the key is being able to declare through them the undying unity that is Life, that is Neoillusion.