New paintings by Juss Piho.

It is most probably an often used cliché that it is the most complicated job to talk about the easiest things. Sometimes it is a cramp or unwillingness to talk, but most often the problem lies in the lack of suitable vocabulary. And it would be ignominious, unseemly and useless to talk of significant things by using not completely suitable words. Let’s see. If you had at your disposal as paltry means as for example words “cat”, “accordion”, “hat” and “blue of the sea before lightning”, then how would you compile of them a sentence which would “hit the target”, which would say everything and simultaneously conceal everything?Just so.

The embarrassment of Juss Piho is (or at least was) most probably of similar origin. Important things do exist and there is an abundance of them, there exist love and friendship, melancholy and happiness, sadness and satisfaction (in case we mention the first key words which come to our heads), but why are you, pal, exposing such words? I am of the opinion that Piho is for quite a while silent before starting a new painting, staring at the canvas as if knowing what to do, but can not put it into words. If anybody phoned him at that moment, let’s just imagine it, and asked – “well, what are we then going to paint today?”, then Piho would be quite quiet.

Therefore this exhibition seems to be in a sense inevitable. Because – if you have much to say but you lack the words, then usually there remains nothing else to do but to use something else besides words. Piho has undergone several stages. Firstly he has – I assume –  looked around in a park and has watched carefully birds hopping about and a young man walking with a girl, holding an unsuitably big bunch of flowers in hand and has the face slightly blushing. Here is actually nothing unexpected, but when usually would follow anatomically exact sketches of the muscles of a sparrow or an insipid picture of love, then Piho has just watched the scene, smoking his pipe and thinking - what would all of that be good for.Well, he more or less does show on his paintings, what this sitting in the park was good for.

Because it seems without any doubt that Piho is looking in everything for something the things are good for. And this is not so little. And even if it is senseless for us to try to use words while talking of Piho and actually it was anyhow senseless to write anything, I am of the opinion that there still exists a vocabulary which could be used while talking of Piho. These are the kind of words, which have never existed, but which can be read and used in pieces of writing only by a few of us.