CLOSED GARDENS
The paintings of these series are consciously playful. They are set either in an – illusory - carefully arranged environment or in a clutter. Random elements, loose image forms, patches of intact linen alternate each other. My intention was not to address the rational mind. Instead I wanted to have an impact on emotions: to remind of or remember the First Garden, whose image we all bear in our collective unconscious. (Zone/Landscape series).
The best pieces are, I think, those in which I consciously give voice to playing around. Those pieces are serious and playful at the same time. Just like children drawings – I like them because they are genuine, truthful.
When composing, it is an interesting albeit difficult task to work with massive forms. Especially if I use only two elements instead of three or five. This is because in the case of three elements, a balance of forces (which is inherent in the proportion of the three elements) can be created without intervening in the composition. I like applying different surface structures for the different forms in order to express my artistic intention. But I might overdo the „sculpting” phase. I want the form to express unity, superficially, while in fact it is the density of the form that holds the parts together; when zooming in on details, the whole fragments into pieces. I like how the eyes puzzle the pieces together and then get lost in the details. Intuitive Landscape was inspired by the linear rhythm changes of Beregszász’s vineyards. The Poem About Sorrow comes from the very picture (of Beregszász), detaching the idea, if you’d like, from the horizon. In the case of abstract landscapes, to me the most plausible way of composing is following the three components: at the top + at the bottom + shape/form. If I erase the line of horizon, in other words, as soon as composing turns to be a two-component process, the shape set on the picture becomes weightless and symbolic, and begins to float. This is, more or less, what happened to the Poem About Sorrow. The hidden meaning of the rotated, blown up shape has intensified and has become charged with new content, such as puppet, idol, coffin, materiality.
As for the line structure, my works of art are often based on the top view drawing of land, parcels, gardens, roads and paths - all cultivated by human hands. This is the case with, for instance, Garden Maze, Fingerprint and Comfort Zone.
The works Zone, Northern Blues, Wakening Myth are ‘garden-portrays’ of sites believed to be lost. Lamentation from a remote, excluded position towards the desired location. The work Prime is the manifestation of the first tree in the form of a number, the tree of divine prohibition in the shadow of which mankind is presumed to appear.
The concept of the Garden cannot be interpreted without the presence of the Man. My gardens represent the Man’s inward looking monotypes of garden, that is, flashes of the psyche altering with white patches.