In the adjoining rooms of observation (observations)

Sikora in his luminograms wants to motivate us to deal with things familiar to everyone: "My photographs are to present something that cannot be seen." His works are understood as an artistic attempt to oppose the fast moving world, abstract thinking, sensing and spiritual potential in artistic works as a quality.

He depicts the world of timelessness, which goes beyond the senses. However, this unrestrained space next to objective view, which is opened in Sikora's luminograms, at any case can be understood as an escape from the reality, but rather as stimulation of subjective illusion and hallucination. These hazy images have an affinity with the phenomenon of hallucination: according to Merleau-Ponty hallucination and observation are elements of one prefunction - we are surrounded by the environment of a particular structure and on its basis we take a position either in the middle of the world or on its verge. Obviously this function can be perceived as reality only because reality itself meets an ordinary subject with similar efficiency.

According to Merleau-Ponty hallucination is using free space of the indicative world and our affinity with the integrity of the existence in syncretic experience, as Sikora says about his photographs: "Great or absolute truth becomes visible to our spirit in its invisibility".

In photographs by Sikora a simple observation slides on the ambiguity of a pre-objective observation; it invites viewers to the vague timeless world on the other side of of our intersubjective, invariable frame of reality. The thing Sikora looks for in his abstract luminograms is not a chimerical coincidence of Me and Others, the present and the past Self - his photographs constantly incline the ideas of others as their own center of perspectives. He encourages viewers to pre-objective experiences of others or to those which I myself could experience as soon as I change my subjective localization. Watching luminograms makes viewers to think about their own illusions and hallucinations.

Thanks to the used material (paper covered with polyethylene) and crooked format of images, while watching Sikora's works one has an impression of a total exhaustion of ordinary observations by the adjacent rooms.

That sophisticated game of light and shadow, unsharp contours of human figures cut out with scissors allows for coexistence of solid objects and indeterminate number of chains of unclear observations, which evoke the change of localization of subjective view into vague view of others. My sight knows that each true change of localization of one of my expectations evokes a precisely matching sensual answer and I feel before my eyes an illusory crowd of indefinite mass of approaching observation, which awaits me before each sensual experience. Full of artistry luminograms by Sikora seduce us in such a way in pre-objective adjacent room of normal experience, in which each viewer can freely associate his own hallucinations and illusions until he is completely exhausted.



Dr. Gottlieb Joachim Florschütz (1962), born in Passau, Germany. Studied philosophy at the University in Kiel, Germany. A recognized philosopher. He lectures in philosophy at the University in Hamburg, Flensburg and Kiel. He deals with mysteries of supernatural and paranormal phenomena.