ARTIST STATEMENT

„The real is not only what can be reproduced, but that which is always already reproduced.” The hyper real. (Jean Baudrillard)

These images are documentations about my imaginations that are about the contradictable cognition forming in the future, instead of studying the problematics of existence. Apart from the visible form place and role of multiplication and copies in our environment, the problematics of sameness and difference, the relationship between experienced and imagined reality are shown in my images.

A world where the idea of reproduction and multiplication occurs in a fairy-tale-like and mythological environment is pictured. Simultaneously, the formal carrier, the technical feature and the mechanical multiplication supports the message of choosing the topic. These images are intended to be the graphical metaphors of inheriting and information transmission.

The technique of these images is traditional copper etching. During this classical multiplied graphical process I work with copper plates. Deepened lines are drawn with ferric chloride onto the surface that are printed onto the paper in several copies with a cylinder presser and black gravure ink.

Technically, these images take place in a fictive future which means a world inhabited by aliens, dinosaurs, clones, viruses and strange flying structures. The natural and fantastic motives are drawn by hand and they are developed and multiplied by human-powered machines. On one hand, all of them are referring to a living environment changed technologically, but on the other hand they also display an experimental characteristics in terms of biological nature of mankind.

Connecting the traditional technique with the imagery of an alternative future might provoke a special levitation in the spectator who can experience the nature of existence of the copies (whether they are objects or persons) and the characteristics of imagination and inner world of a copier, a person multiplying images.

The question of free choice in drawing and multiplying this imaginary world is in connection with the choice of human reproduction and multiplication. Its subject is the selection of information to be forwarded and sufficient genes. Selection, multiplication and successful survival of motives might be the responsibility of the artistic existence staying alive. Finally, the environmental effects draw a line whether the traditional multiplication process in a quality that has not been tried before can be continued along or not. These images present the competitions and the directions and dead-ends of evolution. The message of an imaging medium (copper etching graphics) dates back to five centuries can be seen in a different perspective and in assessments with positive and negative signs apart of its former roles in history of arts. It is at the same level or it is against the application of astonishing new technologies considered to be progressive (e.g.CGI, motion pictures, movies, animations) and has the ability to keepa distance when examining the fine arts dealing with issues provoking social discussions and gaining more attention than those that are not. Meanwhile, it might be able to form our choices organized along them effectively as an equal participant. The possibility of continuing a medium with such a past and loss of functions is a relevant question in even these days and it brings up the possibility of describing the finitude or the impossibility of infiniteness that can be interpreted as a series of constant comments.

All that we hand down (whether on the level of means or motives) such as their viability in a specific environment are free and random and they are consisting of physical laws and an interesting mixture of responsibility and unlimited freedom.

Interpretations of different qualities, but with an equal value are continued like fractals as inquiries progress in reality, while their frameworks are determined by the fact, number or quality of ‘living space’ of their occurrence constantly. It might be an exhibition in a museum or creating a series of reproductions and placing, displaying and multiplying them on different surfaces and in different forms like on the surface on digital monitors or with oil paint on a paper or a wall. Its implementation can be interpreted as an empiric experiment and can be described with experimental facts.

As a conclusion, I would like to quote some words about these images from one of my fine acquaintances (Daniel Daczi): ‘These images enlighten that a man gains an enormous knowledge, but only a slice part of it can be validated by experiences, and even a tinier part is checked in reality. These images are like experiences confuting the knowledge gained: in reality there are no astronauts, Buddhas, Cheburashkas and dinosaurs in our world.’