“I was most interested in the relationship between work and art while I was preparing for the exhibition. I wanted to map what it is like if these two things are intertwined, and the creation does not exist in a parallel medium as an isolated object. I believed that I was not capable of focusing on a “purely” artistic problem, which is independent of the nature that it is created in. My goal was to work on the elements of “everyday problems”, trying to find a solution. I am interested in the place of the artist in today's society, the differences and similarities between work and artistic endeavors.
László András Hatházi
The last time we met the enamel paintings of László András Hatházi at the exhibition entitled Garden Connection
(2011). Enamel returns as the focus of his art, no longer being present on the canvas, instead layered and mixed into itself, with a minimal use of colors.
His theme and technique have changed as well, his mural works allowing him to experiment with various types of materials, while also introducing him the overlap, which can unnoticeably created in both construction and fine art.
The base surface disappears in his current works and instead enamel appears as a dominating material layering upon itself. Figures painting, hanging onto ladders, doing DIY, or scaffolding, paintbrushes and rolls. Where it is not the person that is important, it is the work procedure associated that is. Throughout the days of his various jobs, Hatházi documented the evolving milieu around him on a daily basis, the scenes from these photos return constantly, influenced by the locations and tools of everyday physical labour.
He looked for the final form of his conception, the form for what he has to say. The theme of László Hatházi and his choice of materials is not as “poetic”, however the flow representing the process of creation is very much so. One of his most interesting realizations was that both the “industrial” based, and more standard artistic work, and a task requiring both physical and mental preparedness have raised similar emotions in him.
In ever task in which we use our physical and mental capacity to a fair degree, pay attention, and concentrate, nearly “breathe together” with the finished work, we receive “flow-experience”. This flow is not conscious: we do not necessarily know when we experience it: only receivehe content feeling from experiencing a perfect moment afterwards. Then we know that we were in a “flow”. The flow can occur from solving a puzzle, finishing a marathon, aligning bricks in a straight row, or the creation of an artwork. When one is completely focused on work, a very profane work period could be experienced as a flow. The everyday problems temporarily disappear, the issues are place into the background: the outside world cease to exist and we feel as if we are separate from time.
The works of László Hatházi currently being introduced show the pathfinding phases of his works, the physical realization, and symbolize being outside of time. They find hidden and perceivable connections between the arts and industrial endeavors, places them onto the floor of reality, nurturing them to be tangible.
He works, creates, flows.