ARTIST PROFILE

Marcell Nagy

  • Hungary (b. 1994 in Debrecen)
  • Currently in Budapest, Hungary.

CONTACT & LINKS

ARTIST INFO

ARTIST STATEMENT

I'm giving great energies into my paintings sometimes with a piece out from myself even if the picture itself is "narrative observation"and not a personal one. However, Objectivity is always subjective. I think in artistic creation one can observe the world of subconscious. For example, before starting to paint you try to empty your mind and concentrate on the present and you can fell into a meditative state. You forget about yourself. That is the moment when the subconscious makes its way out and projected straight onto the canvas. My paintings are hybrid fusions... Somewhere between figuration and abstraction. I paint my perceptions of reality and and the subconscious. I try to communicate 'how I see things' like a metaphor for things in life and also experiences of visual or audial sensations. The impressions of observations. My artistic creation is based on observation both inside and outside mixing with symbolism and abstraction. - Abstraction is the best way how I can express myself and with some symbolism in it gives the painting a "hidden truth" which is up to you to discover. When I'm working on big sized canvases I sometimes make sketches for planning. However, sometimes I can't resist repainting each work a hundred times so... I could describe my work as Making the elements appear and disappear, destroying and rebuilding the picture, working in layers. This is my process.


PUBLICATIONS

  • In my painting practice, spontaneity and instinct play a fundamental role. When I approach the canvas, I carry only fragmented ideas – the essence of the work emerges through the process itself. For me, painting is not a pre-composed narrative but an open space where the final form arises from the chance encounters of gesture, mark, color, and layer.

    This way of working resembles the workings of the unconscious: out of fragments, flashes, and blurred shapes, something begins to take form – something that, if I manage to unravel it, often holds more than I could ever consciously plan.

    Recurring motifs frequently appear in my paintings – faces, eyes, vein-like patterns – connecting simultaneously to the human body, to nature, and to cosmic dimensions. Spontaneity, for me, is not the absence of control but a form of surrender: I allow the dialogue between material and gesture to create the painting.

    In this way, the act of painting becomes a practice of self-knowledge – as layers build up on the canvas, deeper layers of the inner world are revealed. My aim is for the viewer to experience something of this unpredictability and openness. I believe that painting has the power to disrupt the continuity of everyday perception and, for a fleeting moment, illuminate the transcendent interconnections that are present in all of our lives.