Venus
New York Life
Wrestling Series
Collage
Heads Series
Move – Dynamics
Move Drawing
I am interested in expressive and gesture painting and also in solving visual questions with the help of their tools. During my studies at the university I have been in a constant search of my way. First I painted still-lifes then I worked with strong gestures, and vivid, blissful colours. I gave human qualities to objects. After a while I started thinking of compositions which seemed really gripping.
The collage technic had already attracted my attention earlier. I started working with them in the third year using posters first. In the streets I found time-worn, torn posters due to sticking them on top of each other. I tried to use this feature in a pisturesque way. Having taken these torn original posters and the photos of them to the studio I noticed that their original meanings had significantly changed. I tried to enhance this change by adding extra materials to them. This gave them a different meaning..
Often there are realistic forms or photos on posters and it is difficult to work them together as a unit by the fracturing technic of a collage. It is problematic to integrate an optical vision with an inner picturesque notion.
The human psyche is among others the play of phantasm and reality. I have tried to form pictures from the figurative images evolved in me which involuntarily refer to everyday situations.I portrayed them with strong expressionism and emotional bursts. I tried to approach the notion through bodies of odd, aggressively behaving faces. Within notions I pictured water sports, later on street life and finally night life. From the above I tried to catch and separate the instantaneous situations and paint them. Usually I worked in large size which is spectacular. Full of tension and barbarity. Touchable, wildness , trepidancy , confusion and brutality, which refers to instinct life. I went into states stretched to the breaking point and tension outbreaks.I focused on deforming faces and stressing grotesque ironical moments. Using collage technic was evident. To start with I tried to illustrate one or two figures, later I was getting to be more excited about chaos and crowd that almost strech the canvas.
The dancers and their dancing in my pictures are not in connection with historical dance symbolism. There are some identical features – here it also means some sort of emotional unity, bonds of fellowship, it realises the person’s freedom in company though here it is strongly distorted… dance
as part of ceremonial and ritual means of contacting the transcendent. My figures are liberating to dance, they are profane, vulgar. I call these dancers, figures “victims” who are troubled as if they all had some difficulties. They express violence and sensualism. Compound of complexes and terror. Yet their dance is some sort of a sign giving force. As Sándor Weöres writes in his poem: Dance “Sign language spinned of body”
I am more and more interested in the inner world. What is unseen in everyday life is what I am looking for. I observe strange faces and their distortions. Faces reflect the core of personality. It becomes visible for the outside world.The beings created by me are strange with blank look. In an imagined place, imagined figures whose faces are distorted in the on-going constant move. They care for nothing but turning out of themselves and then living for the moment. There is no connection between the figures. They form a separate world on their own. They do not care for outside, responsibility. They only hunt the experience of catharsis that actually does not even exist only in their minds. They provoke everything and they only care for carelessness. They are searching ways and it has no end.
This is the same with painting. Continuity motivates it from one picture to another and it takes the thoughts, gestures or even subconscious images further. The unknown , the incomprehensible is always fearful, threatening. The subconscious contents seem dangerous until undealt, bottled up and neglected. The lack of consciousness in paintings often arise in the making process which means indulging in gestures and memories. One needs to step out of the outside world, close out everything and then nothing can dislocate you from this strong feeling.