case Painting

The conceptual and phraseological pillars of my painting are made up of the New York abstract expressionism, especially Rothko, the lyrical abstract evolved in Paris in the mid-twentieths, especially Simon Hantaï, Reigl Judit, and François Fiedler, and last but not least Seres László Hungarian painter. The reproduction and manipulation capability of the real world reached at a previously unimaginable qualitative and quantitative level in the twenty-first century. The means and devices of visual creation and sharing are available practically to anyone. In my view this, as a welcome opportunity, should result in the re-ascension of pure painting, within that some kind of abstract expressionism as it once already did in the early 20th century, as a contradiction to vulgar representation. In visual and technical sense I do not consider myself a contemporary painter. I rather pursue the sensation of constancy and the imperishable in the viewer. In terms of content, however, my studies focus on the relationship between the footprint of the passing human and the timelessness. The frozen moment is dead. The imperishable is dead. Once you go immortal you are dead. Leaving marks means you have passed that moment. On the other hand staring at the marks might bring to surface similar feelings as one had when leaving that mark. This could be the purpose of non-direct expressionist creation. I pursue visualizing the layering of the human fate with painting. As newer and newer coats of experiences and feats lay on us as the old layers show through and interact with the them. As the old ones that stuck under but emerge time to time when the coverages of the present loosen or are getting loosened – either gently or aggressively. ​These formed patterns are rather authentic and, let me put it this way, more beautiful than those left by us deliberately. This is where my painting gets linked to the lyrical abstract where the phraseology is highly supported by the unintentional.