Time is an important keyword for me, including the relationship between the present and the past. My personal interest has turned towards understanding and researching different eras. Perhaps it could be said that I am particularly interested in the nineteenth century; the turn of the century, where we see the contact and transition between two great eras: the nineteenth and the twentieth century. The last chord of the historical ages and modernism.
This interest runs through my paintings, they are born out of this interest. If you look a little closer at the pictures themselves: you can see that they are old-fashioned pictures. Even if we can recognize and identify all the elements and objects that surround us. A jacket, a Nike, a loudspeaker, a car. In short, I’m interested in whether we can look at our time and the people in it as if the glamour of the great ages could be ours. Can we borrow dignity, nobility, grandeur from the past.
The concept of the father figure used in the exhibition, beyond being primarily the figure of my father, immortalised and sung about, also refers, as a stylistic layer, to the traceable father-fatherly patterns I found in the paintings of Diego Velázquez, Gyula Benczúr, Ilya Repin or Károly Ferenczy. They are painterly father figures whose brushstrokes, colours and artistic attitudes inform my own painting choices.