Archives

100x100 cm, 2016.

Márton ROMVÁRI

Wednesday May 31st, 2017

“I am discovering new worlds in oil painting. Although I do not explore objects, this does not mean that I am not interested in reality. I am searching the hidden side of nature for the flow of densely woven waves within the elements of earth, fire, water and air. At first sight, my paintings could be viewed as single cells, organisms, or biological building blocks – a microscopic world locked […]

“I am discovering new worlds in oil painting. Although I do not explore objects, this does not mean that I am not interested in reality. I am searching the hidden side of nature for the flow of densely woven waves within the elements of earth, fire, water and air. At first sight, my paintings could be viewed as single cells, organisms, or biological building blocks – a microscopic world locked in a Petri dish. As I paint, I create a balance between the planned and the improvised. The forms of the painting open up a new world to the imagination of the viewer. After much experimentation I hit upon the lacquer technique, which I feel provides the best means of visualizing the effect I am aiming at.”

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Stefan OSNOWSKI

Wednesday April 12th, 2017

For many years now Stefan Osnowski has been concerned with a new approach to wood engravings and has been developing the opportunities inherent to the technique. When preparing his enlarged engravings, he creates a range of tonal values through the variation of the width and depth of horizontal lines, as well as through the alteration of the density of the grid, whilst retaining a purely monochrome imagery. Doing so he […]

For many years now Stefan Osnowski has been concerned with a new approach to wood engravings and has been developing the opportunities inherent to the technique. When preparing his enlarged engravings, he creates a range of tonal values through the variation of the width and depth of horizontal lines, as well as through the alteration of the density of the grid, whilst retaining a purely monochrome imagery. Doing so he applies a very particular printing technique: with the use of a palm-size glass lens he manually rubs the ink onto the paper instead of using a printing press, thus preserving the apparent uniqueness of each individual item in a series. Physical contact and hand-crafting is just as much a part of his artistic concept as the gathering of themes or the selection of the medium.

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Zsolt VARGA

Tuesday March 22nd, 2016

For those grown up in the digital era the world of Zsolt Varga seems to be evidently influenced by the visuals of the different displays and screens surrounding us. His painting permanently reflects on photography and the possibilities of digital images. By using a variety of surfaces and materials his art takes the learned schemes of our vision as his central topic. He permanently asks questions about the frontal point […]

For those grown up in the digital era the world of Zsolt Varga seems to be evidently influenced by the visuals of the different displays and screens surrounding us. His painting permanently reflects on photography and the possibilities of digital images. By using a variety of surfaces and materials his art takes the learned schemes of our vision as his central topic. He permanently asks questions about the frontal point of view, about the illusion of space evoked on a flat surface, and about the effects created by geometrical forms.

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Marta KUCSORA

Saturday March 26th, 2016

Both gesture and the accidental play an important role in Márta Kucsora’s abstract painterly world, where the ostensibly random effects are usually the results of controlled artistic processes. The trace of the liquid on the surface of the canvas is connected to the depicted object by a simultaneous mimetic and technical relationship. As a result the immediacy of the organic shapes and the similarity of the evoked phenomenon together create […]

Both gesture and the accidental play an important role in Márta Kucsora’s abstract painterly world, where the ostensibly random effects are usually the results of controlled artistic processes. The trace of the liquid on the surface of the canvas is connected to the depicted object by a simultaneous mimetic and technical relationship. As a result the immediacy of the organic shapes and the similarity of the evoked phenomenon together create a complex elementary feeling of water in the spectator.

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Resident Art Budapest

Attila KONDOR

Monday March 28th, 2016

‟Attila Kondor is less interested in hunting for ancient motifs than in searching for chances to have cathartic experiences of unity. But rather than keeping these chances to himself, he also shares them with his spectators. Thus in his life as well as in his artistic world the three agencies of reception aesthetics – author, work and receiver – can, indeed, conjoin in a unio mystica. This indicates a typical […]

Attila Kondor is less interested in hunting for ancient motifs than in searching for chances to have cathartic experiences of unity. But rather than keeping these chances to himself, he also shares them with his spectators. Thus in his life as well as in his artistic world the three agencies of reception aesthetics – author, work and receiver – can, indeed, conjoin in a unio mystica. This indicates a typical Kondorian synthesis: the coupling of medieval mysticism liberated by Aristotelian catharsis with Gademerian postmodern hermeneutics. The result is the creation of a philosophical-aesthetic space within which the ascetic artist of life offers his own experiences of catharsis to his audiences with a disposition to deep contemplation.” − Gábor Rieder

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Resident Art Budapest

Ágnes VEREBICS

Thursday June 25th, 2015

In the menacing world of Ági Verebics the topics are at least as surprising as the painture with which she depicts them on the canvas. The ghostly effect of the aged, dripped surfaces is often enhanced by the monochrome of colors, while her animal-like humans and anthropomorphic animals make the spectator feel uncomfortable. Her paintings that reflect on newsbits, curiosities and the absurdities of the online flood of pictures often […]

In the menacing world of Ági Verebics the topics are at least as surprising as the painture with which she depicts them on the canvas. The ghostly effect of the aged, dripped surfaces is often enhanced by the monochrome of colors, while her animal-like humans and anthropomorphic animals make the spectator feel uncomfortable. Her paintings that reflect on newsbits, curiosities and the absurdities of the online flood of pictures often make us leave our comfort zone.

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Resident Art Budapest

Zsolt FERENCZY

Tuesday March 29th, 2016

‟I’m making paintings about nature and at the same time I reveal something about the nature of painting. The images are loaded with information meanwhile the landscapes are artificial. As soon as I find an unspoiled landscape I try to ’pollute’ the idyll with barriers or with seemingly functionless buildings. I convincingly present familiar and unfamiliar elements side-by-side in my works. My landscapes, figures and objects seem to be landing […]

‟I’m making paintings about nature and at the same time I reveal something about the nature of painting. The images are loaded with information meanwhile the landscapes are artificial. As soon as I find an unspoiled landscape I try to ’pollute’ the idyll with barriers or with seemingly functionless buildings. I convincingly present familiar and unfamiliar elements side-by-side in my works. My landscapes, figures and objects seem to be landing upon us from a parallel universe, which is well-known and alien at the same time. I include references to current issues (such as barriers, for instance) in my imagery without being didactic – I just simply acknowledge the bare facts of our circumstances. The works often reflect the history of civilization’s ambiguous relationship with the land. The landscape proposes questions about the identity of the viewer and raises questions about their cultural roots.”

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Resident Art Budapest

Lehel KOVÁCS

Sunday March 27th, 2016

The relation between the objects and the background behind them can hardly be interpreted. As a result we have the feeling that the stained, patterned old walls have become the main focus of the paintings. The joy of the detailed and eye-tricking way of depicting which was familiar from his former paintings can be recognized in the painting method of his objects in the foreground. The backgrounds of his paintings […]

The relation between the objects and the background behind them can hardly be interpreted. As a result we have the feeling that the stained, patterned old walls have become the main focus of the paintings. The joy of the detailed and eye-tricking way of depicting which was familiar from his former paintings can be recognized in the painting method of his objects in the foreground. The backgrounds of his paintings have evolved with time and have become main motives of his paintings, while the objects in the foreground, instead of emphasizing their presence, accentuate their temporary, banal, evanescent character. In the confrontation of the two different ways of painting we can also recognize two different periods of his life.

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András BRAUN

Wednesday April 12th, 2017

In the categorization-defeating painture of András Braun the formal solutions of op-art and certain techniques of pop-art – such as advertisement-picking and the multiplication of the motives of consumer society – meet with an intense urge to decorate with an almost organic form creation-technique, and this meeting results in unsurpassable square-shaped, mostly large-size paintings. These paintings are based on the multiplication of one main motive, however the technique applied is […]

In the categorization-defeating painture of András Braun the formal solutions of op-art and certain techniques of pop-art – such as advertisement-picking and the multiplication of the motives of consumer society – meet with an intense urge to decorate with an almost organic form creation-technique, and this meeting results in unsurpassable square-shaped, mostly large-size paintings. These paintings are based on the multiplication of one main motive, however the technique applied is never uniform. Braun uses wallpaper paste, acrylic paint, oil, as well as premade molds, creating stirring, wild, intensive and profane mandalas that hypnotically attract the eye. Braun passed away unexpectedly in 2015.

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