Paintings painted especially for this exhibition: landscapes in intimate formate.
Toomas Vint, let’s be honest, is a classic. He can expose all attributes that are ascribed to a classic: prestigeous exhibitions, colour printed personal catalogues, important critics, museum collections and – first of all – by today already decades of respect of other artists and viewers. Because – one does not become a classic just in himself and for oneself, this always happens in the eyes of others and through them. Vint himself does not have much to say about that matter himself. Furthermore – we are dealing with an experienced fibber.
There has been a number (but an insufficient number) of endless talks of Vint’s special characteristic colours, dark green and blue that together form an already new colour: toomasvint. There have been talks how the artist uses the brush: depicting of the sky with a charmingly dispersed strike and landing (or rising) onto details with small dotty strikes. There have been talks of this and that, but never of the fact that Vint is an experienced fibber.
It is true that we come across artistic science – related violent terms as “metaphysical room” or “surrealistic sense of the world”, but how to describe, what Vint is doing on his paintings, furthermore – according to the artist’s own works he describes things “that cannot be explained by words”? But how, protest some more decent citizens, in which sense cannot be explained? Here we have it all: here are towers (I’ve been there, they’ve built a nice cafė into it, coffee costs there three fifty), there are junipers (as I have at my summer cottage), there is grass, each leaf of it can be counted, there is fog and the sunset. There can be found everything. But still, Vint is an experienced fibber.
Let’s take a step backwards, let’s dig up the word “surrealism”, let’s take it into initial particles and let’s have a new look of Vint’s paintings. By leaving aside Dali and Gilette blades cutting the eye, who and which are automatically connected with “surrealism”, we get the etymological origin of the word from the French language, where it refers to the expression “on the reality”. Exactly from there we should be looking for paintings by Vint, in case we start to loose their contents. Perfectness of Vint’s painting technique: lusciousness of his shadows, of which could be talking a wine expert, his highly realistic and simultaneously unreal painting environment (AN EGG in the middle of a field? But come on!) is fibbing, telling at the same time the ultimate truth and lying irresponsibly. The linguistic synonym of the Vint’s paintings is “oxymoron”: this is a moment, when two contrasting statements are true at the same time. Or in other words: this is fibbing, where everything that can be put into words and everything that is left out of the words is simultaneously possible. And it is wise to leave creating of such a situation into the hands of a classic.