On “Memory of Poland” by István Csík we can see a cityscape build of geometrical shapes. Buildings, streets appear in a thickend form, alike to expressionism. The spectacle is unequivocally not the copy of reality, but an idividual perspective, the relationship between sense and the real world. “Walking in the city” by Michel de Certeau says, that the city is a text, which is read and written by the voyeur at same time. This means, that the picture of the city is formed by the subject from what is given. This way the subject thickens, obscures, highlights, creates symbols, so in the and only what catches the eye become visible. For example, only one buliding can symbolise a whole district. This leads us to the artwork by István Csík. In the foreground of the picture, there is a figure, which is rung the whole space of the painting, though the contructive elements lead us to the background. The size of the building constructions and the woman are nearly the same. This shifted scale means the importance of the figure, so it becomes the main motive of the memory, the symbol of the city. Gracefulness of the woman, her elegance given by light colours awakens the sense of pureness. This clearness tipyfies the whole picture. With the pale shades, white lights István Csík is composing clear thoughts, clean emotions. Although behind the freshness of the artwork is hiding the dark side of memories. We select them, euphemise the past and its persons, we place the events of our lives to a changing narrative. The woman on “Memory of Poland” has no face, and her body almost fades into her environment. We could say it is a meagre memory, or in fact untrue. But The painting by István Csík says just the very opposite. A memory never true or untrue, but it is ours. Much as it is changeable, stays unquestionable forever.
photo: Mihály Borsos (misi)
written by: Zsófi Máté
Memory of Poland (65x68cm, oil on wood, 2014)
“Once risen up to the sky, the star/of night river’s not worth much.”- said Attila József, referring to the fact, that art can not perfectly imitate reality, but this is not the aim of it at all. I feel this thought in “Star Projections” by István Csík. The substrate of the artwork is given by space ordering power of constructive formations, but in the center stays the form of circle, which is unlikely in the painting of István Csík. The importance of these shows their colors, which are lightening between the dark shades of painting, avoiding the often used light colors. “Star Projections” tells about in it’s every detail, how the artist, people are related to the universe, which is surrounding and transcending us. István Csík represents the stars in a secure, structured frame within the picture. These gesture can refer to how human beings want from the start of their history recognise and possess the always unreachable transcend world. But in the end, every science and art form has to admit: what we can reach, recognise, is a picture we formed for ourselves, for the scale of human intellect, a projection only. This is what the space outside of the inner frame on the picture tells about. It shows the threatening, deep, thick, formless, dark material, which is the unkown part of our world. “Star Projections” by István Csík revolves to more planes, these symbolize more mental planes. The question of the painting stays open: can we strictly separate these planes? In my opinion, master Csík is showing with this special artwork, that the aforesaid mental planes (just as the planes of the picture’s space) can only exist through each other.
written by: Zsófi Máté
Star Projections (170×115 cm, oil on wood, 2009)
From the title of „Sky, Mount, Water” by István Csík we could think of a traditional landscape. But the master awarded with Munkácsy-prize doesn’t want to represent nature, but to explore a deeper sturcture with the resource of abstraction. „Sky, Mount, Water” is in fact deconstruction, reinterpreting of the named elements of nature. As the result of this process a concentrarte of nature becomes visible on the canvas. The order of the space in the picture is ruled by a horizontal and a vertical red and white stripe, which are crossing eachother, dividing four equal parts of the painting. If we are are observing these sections separately, it turns out, that we find in each of them a form, color a motive, which recalls sky, mount and water. Each of these four parts have indipendent inner order, but they are also in connection. István Csík fills the elements of abtraction with refined shades, while the tender brushwork enacts the forms to natural surfaces. The similar forms- though they are distant on the picture- have the similar world of colors. The viewers can imagine, that they put together these similar forms, so the pieces of the puzzle eject a traditional landscape. But after this imagination, the pieces tear again, and then we recognize the real structure, de given order on „Sky, Mount, Water” by István Csík. In my opinion this painting is a main work of the consecvent life work, which is the concentrate of the interrelation of nature-representation and abstraction.
written by: Zsófi Máté
Sky, Mount, Water (175×126 cm, oil on canvas, 2010)