szegedicsaba.com STATEMENT HOME WORKS BIOGRAPHY ACHIEVEMENT MORE ATELIER
Life is a chance to admire our gorgeous world. We (as Humans – sort of oddly ordered stardust) are endowed with the opportunity to be aware of being and to be questioning existence.
Art is facing up to the Cosmos, looking for the infinite, the non-evident, the unaccountable and, seeking after responses to the eternal questions.
Being an artist is exploring, surveying, discovering, comprehending and reflecting, i.e. carrying on Creation.
Painting is metamorphosis. Something undergoes a change and turns into something else while something remains the same at its very core. Morphé alters - Arché persists.
Painting is an enigmatic process that transforms experience, emotional impulses and intellectual intentions into a PICTURE – basically a constellation of colors, composition of shapes, proportions contrasts and structures...
...and it isn't less astonishing how these messages hidden in visual signals reincarnate in the viewer’s mind as associations, emotional resonance or intellectual comprehension or a cathartic understanding.
Painting is a medium that transmits between intellects and psyches -often far apart in space and time. Its magical planar surface contacts separate realities bridging the space-time of our everyday reality with the enigmatic world of painting back and forth. In other words, beyond the picture-plane there is not the wall but the certainty of art.
The painting process is a battle between motivation and the response of the picture.
Motivation comes on one hand from outside, and is called inspiration, i.e. impulse of experience. On the other hand it comes from inside in form of personal artistic Intention, supplied by emerging emotions or intellectual conception to be expressed. They are all included in the subject-matter.
As the painting process forwards, all these might be overwritten by responses of the picture (self-constructing, self-assembling and inevitable principles of the picture - something hard to describe). These impulses should be sensitively detected – often with surrender.
How can I accord these factors in a conclusion?
How can I keep subsequent phases of the painting process detectable and, still find an optimal solution for completion?
These problems keep me painting and drive me toward abstraction.
My goal in coloring is to create consonant chords that comply like sounds in music, yet remain intensive and fresh. I strive after creating compositions with inner tension but being well-knit and self-reliant in the same time. I strive to create pictures, in which painting (basically color paint applied on the picture- plane) derives from itself. Painting arises as painting; possible spatial and notional associations, connotations and interpretations emerge from the unity of the structure, not from any additive narration.