In The Focus

„Champagne” by PAF hides it’s secret behind coatings. It involves the viewer into a game, who is forced to move between visible and undercover. The picture imperously expects from us the reconstruction of everything, that is obscured by the painter. On „Champagne” this tendency materializes through the figure.We don’t know about the hand reaching from the background, wheter a body belongs to it, or not. This scepticism creates the game with the artwork. We are not able to accept the fact, that the spectacle given by the picture is not, what we really supposed to see.

Champagne in the title of the painting is the attachment and symbol of celebration. On the picture the hand, holding the glass fitfully, is the focus of the artwork, since it’s the zero point of the red gesture, which overarches the whole painting.

PAF’s glass is empty. A smashing red gesture is flowing out of it. The blues guttering onto the arm of the incomplete figure are hiding the color of her skin. The processes on the picture rule the subject of the picture. They show as strange something well known, hamstring something lightsome.

written by: Zsófi Máté

PAF – Champagne (100×100cm, mixed technique on wood, 2013)

Champagne_honlap (100x100 cm, vegyes, fatabla, 2013) eng

In The Focus

„Cathedral” by György Szabó is a self-constitutive and self-supporting organism. The scuplture, made with lost-wax technique, has all of it’s components in connection, their dependence to eachother creates necessity, although we expect eventuality for the first sight. György Szabó’s construction’s salients -mainly in the case of the raising towers- enwreathe like they were joints, holding a body together. The erection of bronze dispenses with static, it is a living structure, in which all the portions effect the whole, establishing fragile balance. The partials of the buliding remind of a cathedral, but the artist reshapes these. What we see are only imprints of well-known architectural features. The „Cathedral” connotes sacrality, but only consits it’s vestige. This hiatus originates the incomprehensible glumness, which surrounds the scuplture by György Szabó.

Cathedral (180x22x20 cm, lost-wax bronze, iron, limestone, 2009)

Katedralis eng Katedralis reszlet eng


„Midnight Rainbow” by Róbert Csáki consists incomprehensible ambivalence. In the warm coloured, easeful foreground faceless, colourful figures are looking into the background, creating an inner frame on the picture. In the blinding white city in front of them, seems like the time has been stopped, only the trusses of buildings stretch to the dark sky. Bridgings transform into constellations, spur wheels into luminaries. Down below a grey man is standing, is unable to see what the group of people rolled in varicoloured rag can: appeariance of a pale rainbow. We don’t know whether these people are leaving, or just entering this nonsensical space, who the sinister grey man is, what this bright, strange world is like. Although on Róbert Csáki’s painting all the doubtfulness, threatening stationarity is dissolved by the panorama of shimerring stars and evanescent rainbow, which seems in its universality such instantaneous, so worldly.

Csaki_Ejszakai szivarvany (92x115 cm, olaj, vaszon, 2008)eng


Our new series IN THE FOCUS

On every second monday we are planning to introduce one Masterpiece of our Artists.

Zsófi Máté Bachelor of Arts student writes short description about the Masterpieces.


Standing in front of an almost two meters high and three meters wide canvas, we usually get confused, try to see the details and the whole at once. On Imre Barna Balázs’s Flux … the system of pulsating gestures simply lets us into the painting. We are too close to stay away.

The streaks of colourful gestures weigh heavily, float effortless, or wreathe mysteriously on the surface. They get in interaction, frame eachother. Cold and warm colours trigger incompatible feelings, and create total, pure order in us and also on the painting.

On the masterpiece by Imre Barna Balázs the moitonless moves and the unimaginable becomes visible, perceptible.


Imre Barna Balázs – Flux 57 (190×290cm, oil on canvas, 2013)


bib flux57 eng