A home full of doors

In Koszorús‘s work, collage appears as a subject and as a formal device, and can be interpreted as an analogy of modern human existence in a world full of choices. The position of the painting as a non–static object and the presence of the compositional and medial mixing of collage in his works evoke the interlocking “fragments of story“ that are stabilized in the processes of artistic choice.

The “collage–character“ also acts as visual ammunition in revealing doubts about memory, questioning the present, the future and the past, the constant movement of the individual‘s current search for place and home, and the familiar nostalgia of the hopefulness of elements that can be combined endlessly. The pictorial elements, like the paintings and objects in the installation, are arranged in a map–like manner, and as a result the boundaries of the paintings, which can be reduced to their constituent parts, are dissolved, and the momentary and experimental nature of collage construction is now a mature solution on canvas. Abstraction reveals the possibility of making sense of individual works not through pairs of opposites but through complex compositions of ideas.

In Koszorús’s most recent paintings, floating and hovering also play an important role as a motif of displacement, levitation, movement and rearrangement. Arrangements with softer shapes and silhouettes take on symbolic form, while a lack of figurality fills the spaces. The atlas-like elements of the abstract artworks, built on the laws of collage, shift from their familiar position towards a faint option of narrative. They do not necessarily seek the possibility of narrative, but rather define a flow towards concreteness through the use of pictorial space.

The softness of the raw canvas, worked over by creasing, folding and ironing, is transformed into a solid object and lives on as the carrier of a new story. Fragments of utopian and imaginary landscapes, places with at once familiar and unfamiliar atmospheres, appear as symbols of an elusive home. Memory, faltering on the balancing mechanism of contrasting images of the kind and the not so kind, arrives at the shadow of a benign ablation through a contemplative ‘time travel‘.

The compositions, which avoid absurd situations and point in one direction, simultaneously highlight the over–romanticised grip of the past and the ‘promising‘ future. In the paintings, more concrete fixed points, discernible relations take centre stage, which are also finely tuned markers of the continuity of change and postulates of the reality–sign hiding in the totality.