The concept: A sand-glass
The end of our century is dominated by the methods of communications which practically suppress painting as a way of creating inter- human relations, as a perception of the world. The artist's way of transmitting his perceptions are based on technical instruments in addition to his personality. His view of the world is not limited by alien devices, and he selects the methods of expression to gain the wholeness of his language. The value of information to an artist lies in the simplicity and clarity of this language. Composing through colors and sketches, he makes his definite picture of the world. Looking at the heritage of visual art, we see the endless repetitions and the definite system of interpretations, in which the artists are created. In our time when the process of creation has acquired its own value, there is the problem of choice between the information, into which the author is immersed, and his inner world. The inner world develops according to its own laws, speaks its own language and creates its own mode of expression, of which the end result is a painting. You are free either to like or dislike this painting. But what the painting means or what the painting is, is not so important, partly because the very process of looking for meanings is endless. And if the painting works as a whole, its space causes the same sense of harmony and beauty which we may see in nature, and which is absolute in all its moods and forms- sincere and true.
The creative process, the way it develops, the very material of painting in its classical, canvas paint brush form, the technique of execution until the very last touch of brush are the elements that make the painting come alive and breathe, constitutes an inseparable whole and have the right to exist in our time when human beings live in an artificial, synthetic environment. In this way, we may accept the fact of existence of painting as the fact of a letter sent by one human being to another. Aslangery. 05.04.1993
The paintings' concept: The Sun in the Black Square.
Van Gogh painted the Sun in the 19th century ;
Malevich discovered "The Black Square" in the twentieth century.
November 2000, painting model.
Spaces proportions and scale, marked with the format of a square meter.
No doubts. An even-tempered Object.
Impulse causes a conflict.
The living space is the Square. Conditional units are only numbers and figures.
Zero signs the Sun and the Light.
Amount of warm or yellow paint, with meaning per unit of material, signed with black paint with meaning.
Halftones, density, cold-and-warmness, red, green, blue and yellow etc.
Image is alive
The author curiously discovers the world, in which yellows mean blacks as well as in the PC thinking-model awkward.
Landscape. Object. Man.
The painting, its spirit and all its components, seized with each other create the space, where the object is considered to be existing.
The author works out plastically and picturesque series, which follow the movement of toned points and lines rhythmically designed.
All these tools engender the Image.
Landscape. Object. Man.
Zero, paining as the world.
Contemporary representational art does not consist of brain tissue, as the eye nerve and human brain do, but it does – to a large extend – appear to be an extension of the mind, which is why it is highly individualistic and why it’s not acceptable to talk about objectivity. Perhaps one should believe one’s feelings and see through the prism of the heart. My project pertains to the visual world, which should not be empty. It is difficult to paint not
the sitter but the background against which he is posing, to paint the space in which he is alive. Perhaps painting is the realm in which our feelings live?
By using numbers as the texture of my work, I did not aim to clarify this part of mathematics. It’s a formal device in my painting, a rhythmic row of tonal dots and forms. I became interested in digits and their meaning. All emblems in a row, while they may have different form, are equal to one another, equal in size and in all other respects. I took out a pencil, some paper, and five bottles of vodka, and I spent two days
deliberating, and as a result I arrived at a three-dimensional glass, in which digits endlessly move down its edge, creating the impression of a limited space. Movement has time and direction, the vector creates a closed spiral. The vessel’s form is created by nine digits of equal value. An important detail: I began by counting from one because zero is not an equal multiple to this row of numbers. A new structure emerges if you add zero, and the
counting goes in numbers, starting from ten. When I started the creation of my pyramid from zero, I was not getting anywhere, due to the fact that zero is everywhere, it is an absolute multiple.
Painting, sensuous reception of the world, the subconscious, creative activity, and not just a set number of zeros on paper money, that is the unchanging condition for the existence of the human form. This may be why the art of ancient civilizations impresses me greatly: artists were servants of the gods, and for them the door to the infinite universe always stood open.