VISIONARY REVUE


VR - It seems that most of your work has both a personal and a mythical aspect to it. Do you interpret your life through myth? What is a myth for you?
FUCHS - Well, that's one thing I sometimes try to do - to interpret my own work and, at the same time, to interpret myself and the meaning of my life. Because you always think there must be some connection. For me, mythology is the eternal prefiguration of a human life.
VR - So, when you read a myth, you...?
FUCHS - Yes ...I identify with it. I think everybody does. That is the fascination of theatre in antiquity - the idea of theatre, as a kind of religion - where we contemplate the eternal patterns of life.
VR - And where does that bring you?
FUCHS - Well, it is actually a very fatalistic thing to get into... It makes sense to me that... being caught in the physical universe, in the trap of those patterns... you have to learn how to live in it - despite the fact that you cannot change it.
VR - Have your paintings opened a doorway for you? Has art shown you things that philosophy could not?
FUCHS - Of course. One of the most important lessons you get from fine art is that - language is not everything. Verbal expressions are not everything. Words and images are given to each other to enhance one another. Then, coming together in a song, or in an opera... I don't think that art, if it's isolated and specialized, can really create culture. It needs a cult. And theatre is a cult, and so is opera. Therefore the isolation of the artist today stems from their interests - they're too limited.
VR - For you, art can interact with writing and...
FUCHS - It has to. It always has. How could you extract Bernini's work as a sculptor from his work as an architect? And from his contemporaries who worked with him? There was communication, inspite of all the jealousy! Inspite of that, they were all working on one thing, and that was their culture.



 
 
 


PARIS - SPRING 2004



ARTIFEX AND THE PORTRAIT OF THE MUSE
1969


 

 
 
 


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