ARTIST STATEMENT

My work is a painting based installational, sculptural infused hybrid body of art. As I studied industrial design at the beginning my engineering approach is deeply rooted in my work. I integrate a lot of technology and craftsmanship to my paintings like laser cutting, welding, carpentry, car paint technique etc. What I'm doing is constantly expanding and changing. After I moved to London I got highly inspired by rave culture, escapism, and social media phenomenons like ghosting or fear of missing out (FOMO). I try to find balance in my work by using contradictory elements, a lot of love and joy but also absence and sorrow. I build like a Jenga tower, I always add more elements to the work but also take away a lot on the other side. My work has a very intense, opulent, metropolitan baroque energy mixed with some decay and anxiety.

The structure of each painting, while appearing to begin with the traditional rectangular form, undergoes several significant interventions, from welded steel ‘mini-frames’ to create angular spaces within the surface of the work to use of panels of mirror board and laser cut plexiglass to bite-like disturbances in the frame itself, breaking its usual line and emphasising the importance of the relationship of the structure to the work. Backgrounds are built up using layers of spray paint, echoing graffiti artists’ use of aerosols to create their art, and not unlike Jean-Michel Basquiat when he was one half of the Samo graffiti pair with his friend Al Diaz as they tagged the downtown Manhattan of the late 70s. I played with graffiti in Budapest’s urban environment before arriving to study in the city of London. Layered over the spray paint are both explosions of bright and often fluorescent colour in boldly expressionistic gestures reminiscent of Jackson Pollock’s iconic abstract action paintings of the middle of the twentieth century and light reflective vinyl again in bright saturated colours evocative of warehouse parties, rave culture and historic venues such as Manchester’s Hacienda night club.  

The spaces I create within my works superficially invite comparison to the transcendentalism associated with earlier forms of abstraction (Mark Rothko being the most hyperbolic example of the spiritualist arguments oftentimes made for abstraction), although what they actually connote is something much more elusive. Are they windows on to the future and if so what sort of future? Expressions of loss or absence? References to the decaying or crumbling nature of dilapidated cityscapes? Or a tool to emphasise the work’s relationship with its surroundings?