This is how, consequentially, the depth of research develops and the complexity of visual overlap is matched by an intensification of intellectual inquiry. Thus the quotations take shape, the more media-oriented and ‘low’ ones from movies and celebrities, which are the best-known face of our cultural reality, to the most significant ones from the great literature of the nineteenth – twentieth century.
The canvas lives on narrative planes even when it is not broken down into polyptychs, and semantic copresences are condensed into layers of aesthetic meaning. It fits well with the teaching of Bachtin, who derived precisely from his observation of Dostoevsky’s novel the multilingual necessity of man, which seeps out of his characters, never whole and unambiguous who nonetheless invoke an external interpretation in order to be vivid, real, precisely polysemous. Like the protagonists in Dostoevsky’s pages, those in Duty Gorn’s canvases live on the multifaceted intimacy of the artist-author: “faces that break to reveal their deepest souls.” But, at the same time, they also speak from the side of the observer, needing the observer’s gaze to be constructed, evaluated, investigated enough to recompose the fractures of the polyptychs.