Plimsoll lines

Although the expression Diving Lines is in general used in a different, literally diving context, from the point of view of the exhibition it may surface a pictorial association, i.e. refer to a space divided into two parts, to one visible and to another, unfolding under the surface.

When facing an artwork, the spectator sees the stadium of a process which is either the ‘last’ phase of a creative line imagined by the artist, or from the point of view of the artist, the moment the work becomes public, it still supposes an interaction between the spectator and the work so that it can gain its whole significance.

The upcoming group exhibition will mostly formulate impulses related to the process of artistic creation leaving the possibility to see beyond the line, beyond the surface and so, discover and understand certain phases of this process, encouter the ideas (notions), principles which incite the artist to creation or offer a basis for creation. Hence the exhibition enables not only the different creative paths guiding the participating artists to unfold collaterally, but also the sources inspiring them – and as for every case the accent is put elsewhere, an interestin g treasury of artistic methods may evolve within the group show.

The ouvre of an artist is not only defined by one creative process, nor one technique, nor one conception: there are some characteristic, theoretical and practical-technical motives which differenciate the given artist from its contemporaries, make them unique, unrepeatable.

The plural form of ‘diving lines’ indicates invisible strings which, when followed, may finally lead us to the outlines of ideal and artistic spheres. It is by immersing in these spheres that the artist searches and finds basic material: the artist will then reveal, make visible the elements, synthetized by the work itself.

It is characteristic of István Nádler’s artistic approach to create unity within the artwork by making encounter antagonistic sides: the artist aspires to dissolve opposite elements. The state of recognition, the moment when transcendental and terrestrial spaces meet, the unfolding of their mutual relation and its after-life, i.e. the fixed form of the idea represented by the finished work, show an intersection of processes to the understanding of which the film first presented during this exhibition will operate as a mediator.

In the case of László Mulasics one will literally proceed from layer to layer when discovering certain phases of the works’ creation. On the surface, we see how the metaphysic ideas are melted into material reality as the thoughts solidify in the cool wax and become abstract signs. The plants assuming geometrical forms, the interference bands reminding us of blue and white maiolica mosaics leave a wide space for associations – that is how the works will gain their final meaning.

Through the installation and the corded embossment pictures of El Kazovszkij to be now presented will appear in front of our eyes the manifestos of the artist’s inaccessible desire towards Beauty. The works introduce the spectator into Kazovszkij’s mythological sphere where the angels throne between sharp shaped clouds and cypresses as unreachable idols in the eyes of the wandering animal with broken wings.

The selection of László Győrffy’s graphic works catches an ‘idea-motive’ which enlightens the ‘place and the role’ of the artist within the works and his relation to his own pictures: it is not the ‘perception of the postromantic me’ that prevails on Győrffy’s works, but an ‘imitated subjectivity’, a ‘reflected personnality’ nourishing from general, culture historical sources. Just as if we saw confessions, but it is that faked ‘subjectivity’ which has that powerful impact on the spectator – especially if matched with related quotations.

In the case of János Szirtes, we may analyse the different fulfilment possibilities of works generated by gesture and impulse, while discovering the improvisational method of Sándor Rácmolnár, the pictorial world of Françoise Gilot dominated by mythology and symbols, the processes of Martin C. Herbst coquetting with the third dimension and the specific diving technique of Levente Herman.

Different peculiar ‘creative zones’ outline through the works of the nine artists, letting the spectator ‘read’ the interesting unities of ideas, impulses and techniques accompanying the works. Thus, as we reach serious depths, tangible will become the implosive sensation or on the contrary, the long, deliberate ‘constructional process’ that create the artworks, making them live.