Seeing begins with the ‘eyes’; the empty eyes and the abysmal dimness lying beneath them are the entrance to the distress and turmoil of the whole painting. The blurred image of a sudden shaking removes any determinacy and precision, and the presence of indeterminacy alludes to a necessary tendency for rigidity and clarity readily on the verge of occurrence. But since the painted situation is fixed and finished, such tendency cannot cause what it wants to. This situation, hovering between two magnetic poles, releases a fusion of seduction and repulsion in the space between the painting and the viewer. Every second, as we crawl deep into the eyes, the garbled hair thrusts us back. But the hands… are the hands trying to keep the head steady or shaking it? Do they provide consciousness or eliminate it? Behind the blurred surface, there is definitely a contrast between the superior hand and the yielding face where the allure of the painting lies. Deciphering the irony of the picture is possible through its metaphorical components; the operating source of violence outside the frame of sight, the emptiness of the eyes ready to grasp anything within, and the presence of an accompanying text providing a formal encyclopedic definition for the terms ‘game’, ‘Autism’, ‘doctor’ and ‘doctor-role-playing’, all expressive of a hatred for a sovereign power residing ‘elsewhere’ whose dominating influence sneaks into every leisure activity and entertainment turning them into its own practices. But this ‘expression’ cannot explain or articulate how the audience sentimentally reacts in front of this work: the crystal dust furtively breezing out of the blank eye-holes to the audience’s face gradually scratching the skin. This picture is bigger than what is hung on the wall, this picture exemplifies the failure to represent ‘something enormous’. That general enormous thing–which is more than a picture and is nothing to be seen, maybe a vital factor, something ‘for’ living–is left unseen and impossible to be seen. There is only a hint suggesting its beginning and occurrence or maybe its ending point. That breeze is charged; this picture is pregnant. The ‘stone’, which you might have thrown into the hollow of the eyes when standing at the edge of the eyelids, is seemingly about to reach the bottom and make an echoing noise falling into the water or the ground, although this all might happen a lot later than what you could have imagined, and although the stone is ‘always’ seemingly about to reach the bottom…
