In The Focus

„Time Capsule” by Attila Rajcsók was exhibited in Paris for the first time, and it continues the form world of the artist’s eariler works. For Rajcsók it is very important to demolish, rebuild and interpret the organic forms on the base of the elements of nature. That way the artist and the viewer also have the possibility to look into the inner structure of natural harmony. „Time Capsule” is following this disciple, but despite recreating nature, abstraction is in the foreground, making the artwork futuristic, alienated from real space and time. Its unique structure is due to streaking of the steel straps, because while the sculpture is in course of construction, the inchoate form is transforming, which is terminating with the loop-like connection of the straps. Though the scuplture is terminated only in a material meaning. The artwork by Attila Rajcsók has on one hand an exciting, open inner space. The outside sterile, raw steel gets here the colour of red, which results some kind of an inner ignition, an almost touchable tension, as if the scuplure could turn outside itself in any moment. On the other hand, it is an open arwork, because it is using the viewer’s fantasy, motivatates them to move and shape the sculpture. This sense is only amplified by the position of the artwork. It is almost levitating, barely touching the postament, seems like the temporary balance could capsize anytime. But all this quasi-eventuality is the part of a well planned conception. „Time Capsule” has an incerdible space oranizing power, but the real professional success, is that Attila Rajcsók is building into the constuction all the invisible forms and spaces, which are brought to life by the power of mind.

photo: Mihály Borsos (misi)
written by: Zsófi Máté

Idokapszula (143x84x85 cm, festett, hegesztett acel, 2015)_eng

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Time Capsule (143x84x85 cm, painted, welded steel, 2015)

In The Focus

„Time Twine” by Attila Rajcsók and PAF is the connection of two artists, two art forms, two minds, in addition the objective effect of clear artistic humility. This takes openness of the artists, and also of the artwork itself. To Attila Rajcsók space-organizing of sculpture, and the question of balance is important. Welded steel straps of „Time Twine” embrace to eachother like they were a living, moving, pulsing organism, despite their stern material. The motive of eventuality on the clean, sterile surface of the sculpture appears only at the meeting point of the stratificating straps. This tiny detail has its own-from the viewpoint of the whole sculpture secondary-rythm, which could serve as the starting point of PAF’s work. „Time Twine” is completed by painted gestures. PAF vindicates the strong colors and the conscious gestures of his painting in a given dimension of form. Stratification of paint, the facture modificates the surface of the sculpture, and the variety of colors, varying of dark and plain gradations give a new rythm to the inner space of the sculpture. In the exhibition the postament with the sculpture on it stands on hangings painted by PAF. This installation is the counterpoint of the gestures on the artwork, which are settling of emotions. This means that they are carriers of underlying content, while the hangings could be defined as action painting, where the creatice process is more important az the message. It is significant to pin down, that none of the artists want to rule „Time Twine”. On the contrary, the artistic world of Rajcsók and PAF open themselves to eachother, honor eachother, adapt to eachother without losing their freedom. In this wise they twine in absolute harmony in an unique artwork.

 

written by: Zsófi Máté

photo: misi

 

 

Idofonat_eng

In The Focus

“Cradle” by Attila Rajcsók offers many opportunities of interpretation to the viewer. The sterile, laminatedly welded, snowhite steel visualizes a process. As if in front of our eyes a core would sprout, petals of a flower would unfold, an animel would slip of it’s shell, or a human being would come to life. “Cradle” represents the slow process of birth, and at the same time, the very reverse of it. What seems opening, unfolding at the first glimpse, also could be the act of closing, passing away in the case of this sculpture. The neutral white color also makes undefinable, that what we see is the unfolding or the locking of the artwork. It seems like “Cradle” is a liminality, an incarnated moment, when the insight to the inner parts of the sculpture is possible. But what is it, that the artwork is hiding, even in this status? This is the unanswered question of “Cradle” by Attile Rajcsók.

photo: Mihály Borsos (misi)
written by: Zsófi Máté

Bolcso (92x56x45 cm, hagesztett acel, 2012)_eng

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bölcső (92x56x45 cm, hagesztett acel, 2012)