Wonder of the World is not a word thrown into the wind. When we stop for a moment and let things and facts to pass us, I think we're given the chance to feel the Wonder of the World, whatever it may be. The Wonder of the World disappears then, when everything re-enter into the track of singular or declined tumult, because, cautious and vulnerable, Wonder of the World pulls back what is her most precious: Mystery.
Photography begins, like many of our meetings and events, by being a secret or the Mystery of the Wonder of the World. Then the picture is fully in the world, and Mystery withdraws. Meanwhile, photography is busy diligently to find, show and tell the story of the world, but remains low in witnessing the Wonder of the World. Only when the photographer and the photography find out about it intuitively or by proof, they can leave the world and meet Mystery, then, allowed by it, they will be able to learn, show and tell about the Wonder of the World. Usually this happens when the photographer and the picture becomes 1 for 1, and thus have access to the core of things of the Wonder of the World and of Mystery, which is just 1. This does happen only when the picture and photographer want and already know to be 1.
Pinto Horse – Soóska's Indian name, or Attila Soós – reached this point, what we usually call crossroads, because it is as a milestone as it is a start. He deliberately delayed, to the sadness of many of us, to show us what is 1.
He avoided severely one of the stations of 1, in this case a profound identity confession, a condition that for each artist means an exposure towards the world and dedication to the world under the title of a personal exhibition. So far, Pinto Horse and his other names have not found a way and sense of undertaking such action. But time has come, and he and his photography have found in the crossroad dilemma the moment, the way and the imagination of deed. The aspiration had to mature lingeringly and there have been times when the decision was postponed.
A thoroughbred photographer, a witness and a confessor of the world, Pinto Horse always gave sources and resources to others that they can give themselves away. This meant, however, that he at all times, as a teacher, had to persevere in a difficult interval in order to ensure the bridge. But the moment has come and it presents as a gift! Almost sacrificial in that the privacy of cancellation of the interval is made visible and legible to the rest of us. The time has come, at the end of a long and sacrificial journey for finding sense of 1: being unique, being authentic, original, innovative and pioneer!
Pinto Horse broke paradox, like a flight towards the sky without lifting one’s feet off the ground, to stay the photographer in love with photographing human creature, as generic as singular, photographing a model, a model that gathers in herself being and creation, physical and metaphysical, and has united with the model by almost alchemical magic and enchantment. And this was supposed to wear a name to herald and guide us to the meaning, as much as a mystery should be understood. The title for this work is testimony and confession in the same time, and also sacrifice, exhibition and event, celebration and lesson. The title is simple, but it is that much as it should be visible about the Mystery that allowed it, and that he allowed for us and for himself; the exhibition and everything beyond it is simply called 1+1. The explicit of the happening lies in physical and arithmetic script of this 1+1, and the optimal revelation of Mystery and metaphysics of happening lies in the paradox of the result that witnesses and confesses that 1+1 is 1.
P.S. Finally, maybe is necessary to elucidate – even if this might annoy a bit the Mystery – that 1+1 which are 1, the visible and legible imagination put together as much as needed from the being and body of the model, and as much of Pinto’s most valuable mane, his long hair he cares a lot and that represents him.