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SPACES AND THE IMAGE

The works of Csóka Szilárd-Zsolt are situated between metaphysical painting and abstract expressionism, whereas traces of Tachisme or action painting are visible in the process of their creation. But the basic structure which bears all of these influences is that of the landscape. Although the notion of landscape doesn’t completely match the genre of these works, it is still the definition closest to the truth – since they all involve representations of spaces. On the first glance, we see a space with a strong atmosphere... but a closer examination reveals that, although the image triggers strong landscape references and offers the experience of a specific location, it’s components cannot be identified. Apart from a few recognizable elements (which, themselves are often ), all that seemed “objects” and “elements of landscape” turn out to be, in fact, traces of painting. These are strange and mythical spaces which appear at the level of representation and within the material too. They are compositions which carry the developments of earlier surface-experiments, now integrated into well-founded, coherent systems built with focus and subtle relations. The different manifestations fall into place within a unique and surprising ensemble, which is the combination of different spatial elements, but at the same time, of different expressive elements as well. The wash of colours, the dynamics of graphic shapes, the painterly surfaces with strong texture, the impasto brush strokes, either smooth or more raw, emphasizing the thickness of the layers, even the quasi-sculptural impressions in paint material appear in this body of work; and depending on the painting, at least two of these visual languages are combined, but sometimes they can contain a fusion of three or four. Thus, the spaces of the paintings are continuous and fragmented at the same time; they aren’t discordant or loosely formulated – but form complex harmonies. Being drawn in by their effect, we don’t notice when, during our contemplation, has the perspective, the plane, or the material changed, or, for that matter, where, through some hidden portal, has space activated the dimension of time. The works seen in this particular collection could even be understood as a coherent series, a result of the recurrent motive(s) and the character of the scenes: the place which seems familiar but doesn’t exist in space, the dimension which presents itself to our senses, the reflection in which worlds fall apart. The rectangular entity appears, in most cases, as a billboard, but in the fluctuation of the series it can be a deck board, a panel, a wall, a pier, a bridge, a raft, a fly (from a tent), a sail or even laid out piece of textile. The repetition is suggestive, and consequently it shifts our attention to abstract connotations: the rectangle is an appointed, stable stretch in space; it defines planes which pervade the undifferentiated space and form a steady surface; or door/window openings which interrupt mass and provide free pass through it. And if we consider this evocative entity from our conscious position as viewers, we will discover the gentle irony of the situation: the rectangle calls to mind the very canvas, the surface of which we are watching – the rectangle is, in fact, the image itself. UNGVÁRI-ZRÍNYI Kata

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Csóka Szilárd Zsolt katalógus  

Csóka Szilárd Zsolt katalógus  

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