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Leopold Bloom Art Award
Kiscelli Museum
Curator: Éda Meggyesházi

Better if it’s visible...

(what is deep downwards is just as wide upwards)

wood, lead 6 x 6 x 240 cm


In my earlier works (Invisible Borders, Landing on the Soft Side, I Guess I Am Waiting in a Bad Way...) I started dealing with such human inner phenomena whose presence in our lives is often difficult to detect. To me, these unknown spaces within us are emotional imprints from the past, or ingrained thought structures that are so automatic in the course of our lives that they go almost unnoticed. These evasions are often the inner wounds or weights along which our destiny and personality evolves. It is along the heaviness of these inner burdens that we find ourselves in various states and situations, not only with ourselves but also with others. Examining these phenomena in my own life, I have come to question what this weight really is. These weights in human relationships are at once heavy, and at the same time beautiful owing to the strong emotional connections. To me, this awkwardness, this fragility, is most akin to a kind of poetry in human relationships.

Landing of the Soft Side


aquarelle series, 60 pcs, on aluminium sheet

Landing on the Soft Side is an aquarelle drawing series dealing with memory and processing of memory. It explores our inherited inner, unconscious, and learned emotional motifs that can be revealed during psychotherapy. As an artist, it is a very fascinating process for me, nevertheless it has its difficult moments. The ‘blind spots’ and emotional systems which are often unconscious basics of our life path are simultaneously frightening and liberating.

The exploration of family, friendship, and relationship set-ups from a larger perspective, the intertwining and interactions of personalities that sometimes carry an uneasy broken beauty can be moving for me, meanwhile it has a lifelike throbbing, a quiet poetry whispering within the human relations. In my previous series I dealt with the idea of inner emotional workings of the self, starting out from an expanded drop form, where I tried to act accordingly to the nature of the material, this intention stayed with me in this series as well. Slowly other shapes and forms arrived creating a fast reactive flow between the inner and the outer, thought and movement, unity and wholeness. The subtlety directed material, the aquarelle, follows the small movements of my body as well as the material itself carries my gestures, delicateness of the inner workings of a psychotherapy resonates with the delicateness of the material.

In this series all the drawings are related some closer than others, describing a certain set of feelings. They act as an inner comic book, yet don’t have a linear narrative. These ‘inner noises’ arise in different ways, their system of symbols that can be interpreted clearly and variably, evoking a linguistic pattern without needing a translation.

The installation of the series is arranged in a map-like manner. The aquarelle drawings are set in groups and some alone, some placed onto bent see-through elements, panels and benches allowing the pieces to be constantly present and in view at all times. Hence they carry different amounts of emotional charge, yet they have an opportunity to stay in touch with each other and also the spectator can read it according to their inner intrigue.

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