"Trunks"
Final year project at Academy of Finearts / made in 2006
Final year project at Academy of Finearts / made in 2006
Essl Award Winners, Essl Museum, Klosterneuburg/Wien, A / 2007
Essl Award Night, Ludwig Museum (Museum of Contemporary Art), Budapest / 2007
Installation / Glas, wood, oil on canvas, mirror respectively glass
The application work consists of two boxes of different size and shape:
1. The first one is a white cube box. Its outward simplicity hides the miracle inward. When looked into, a painting appears showing the author's own body in a shrunk shape - a shape similar to the embryonic position or to that of contracted burial - it attempts to fit into the square shape of exactly the size that he can comfortably fit into. The body is back to the observer as if looking into a whole not visible from outside into a different world. The birthmarks on the back of the body form a shape of the constellation of the Virgin referring to the birth of the author.
Thus the box is a transition, a transporting substance to a different dimension. This idea is strengthened by the fact that the observer can see a two dimension painting so strongly realistic and its plasticity is also strongly imitated. Due to mirrors on all four internal sides of the box, an infinite number of copies are created. The profane interior is broken and space is expanded. The viewer all finds himself in a colonnade. The body turned into two dimensions is now looking into a new world from the space of the box without any awareness of the reality and the world of the observers.
The box is a conception of the universe. In other words the world is placed in between heaven and earth, or the top and the bottom of the cube.
2. The second box is a "white coffin". It holds a winding sheet, the projected picture or mark of the deceased as it is being permeated into it. The position of the body itself as well as the hands and the whole form refers to the Christ of the Veil of Torino. It is a reminder of the famous veil being delivered from Edessa to Constantinople in 944 A.D. in a case showing very similar marks to some of our Hungarian folk szökröny's.
The work thus commemorates the simple yet universal miracle of birth, and life, and death, all creating awareness to a seldom emphasized, and by now slowly decaying sacral aspect.
Essl Award Night, Ludwig Museum (Museum of Contemporary Art), Budapest / 2007
Installation / Glas, wood, oil on canvas, mirror respectively glass
The application work consists of two boxes of different size and shape:
1. The first one is a white cube box. Its outward simplicity hides the miracle inward. When looked into, a painting appears showing the author's own body in a shrunk shape - a shape similar to the embryonic position or to that of contracted burial - it attempts to fit into the square shape of exactly the size that he can comfortably fit into. The body is back to the observer as if looking into a whole not visible from outside into a different world. The birthmarks on the back of the body form a shape of the constellation of the Virgin referring to the birth of the author.
Thus the box is a transition, a transporting substance to a different dimension. This idea is strengthened by the fact that the observer can see a two dimension painting so strongly realistic and its plasticity is also strongly imitated. Due to mirrors on all four internal sides of the box, an infinite number of copies are created. The profane interior is broken and space is expanded. The viewer all finds himself in a colonnade. The body turned into two dimensions is now looking into a new world from the space of the box without any awareness of the reality and the world of the observers.
The box is a conception of the universe. In other words the world is placed in between heaven and earth, or the top and the bottom of the cube.
2. The second box is a "white coffin". It holds a winding sheet, the projected picture or mark of the deceased as it is being permeated into it. The position of the body itself as well as the hands and the whole form refers to the Christ of the Veil of Torino. It is a reminder of the famous veil being delivered from Edessa to Constantinople in 944 A.D. in a case showing very similar marks to some of our Hungarian folk szökröny's.
The work thus commemorates the simple yet universal miracle of birth, and life, and death, all creating awareness to a seldom emphasized, and by now slowly decaying sacral aspect.
