ARTIST PROFILE

Dániel Bernáth

  • Hungary (b. 1990 in Debrecen)
  • Currently in Budapest, Hungary.
Puritan Flow - exhibition

Puritan Flow - exhibition


  • Puritan 20flow
  • Img 71  20acryl  20canvas  20detail
  • Img 68  20acryl canvas detail
  • Img 72  20img 71  20img 67  20img 68
  • Puritan Flow - exhibition - thumbnail Puritan Flow - exhibition - thumbnail Puritan Flow - exhibition - thumbnail Optional Obligatory - exhibition - thumbnail organimetry context photo - IMG_59, IMG_09, IMG_16, IMG_48 - thumbnail organimetry - IMG_07 - thumbnail organimetry2 context photo - IMG_37, IMG_23, IMG_24 - thumbnail organimetry context photo - IMG_40, IMG_21, IMG_13  - thumbnail organimetry context photo - thumbnail organimetry context photo - IMG_51 - thumbnail organimetry context photo - IMG_47, IMG_55 - thumbnail

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    Organimetry - Organic Frames | 2015 - 2016

In my works, I aim to explore imaging systems as reflected in different media. I am concerned with the image as both an object and an idea, as a formation both historical and abstract. I am interested in discovering how we subjectively go about constructing this formation, and – since it affects us and we respond to it – how this formation ends up constructing us. I've made some organic silhouette frames, to make the paintings impressions more ephemeral, as it just in our mind. The curvy edges of the organic frames and the canvases stretched on these slabs are reflecting on the time component, they are kind of memento mori. The use of these slabs is inevitable as they embody originality, the iconic presence. The different physical attributes, the quality of the materials, the contradictions of the content and visuality seem to have an effect together in the conception of originality. The unique and unrepeatable persistence of the works come from this originality, which gives them a space to relate to the object as a function with an identity. The works are tamper-proof and cannot be reproduced because we can not find two identical wood knots or arches in nature. The irregular silhouette of the frames offer new opportunities for painting, a projection field where a sign can mean itself and also a related subjective association. The use of a reductive and point seeker painting technique is completed with a composition made for the proportions of a given frame. In the beginning it was spectacular, than it became more abstract with geometric motif supply. I am currently in a search for a minimum point that barely just informs the ‘object’ so that it can create the ‘picture’ as the object, that makes it identifiable, recognizable. As the nature and wildlife are aspiring for an energy minimum, same tendencies can be observed in the creative process. If we look at the arc of the series we can see that the focus of the works was shifting towards an abstracting approach, while the subjective taste was often overshadowed and turned into impersonality. From the general examination of visuality and perception the different ways of making pictures gets in the focus and becomes the subject of abstraction. Thus the exhibited works are intended to be the synthesis of medium and subject, just like the frame structure which is the instrument and the topic as well. This kind of installation of the paintings was an experiment to make a situation where two painting's border creates an other images at the same time.