Probably the term ’method acting’, yet by reason of the Shakespeare quotation, is the closest to the approach that defines László Győrffy’s work, which was taken into consideration during the preparations of the exhibition.
The body of the exhibition is divided into two main parts taking the space of the gallery into consideration as well: in one room the etching series entitled 7 Heads 10 Horns 9 Eyes processing apocalyptic topics takes place, which not only refers to the Book of Revelation, but also focuses along different eschatological traditions mainly on those (pictorial) stereotypes through the optics of the mass- and/or horror culture, which makes the Armageddon part of the entertainment industry.
The prints just like the earlier pages of the Seven Deadly Sins do not really visualise the battle of the Good and the Bad, but rather orbit in that „grey zone”, which provides terrain for the proliferation of the hybrids. This mutant aesthetic can be discovered on the supporting sculpture series too: the painted ceramic faces of the entire Facefuck series match with the coefficients of the private anatomy and the productive (self) destruction into the program of decay.
The other room’s core material – compared to the sculpture’s vital and serene colours – consists of gloomy tonal and individually installed oil/canvas paintings, which puts such a creation story in colour, which not only lack man, but also Creator himself. The prehistoric and centre-lacking genesis of Black Rainbow / Inauguration of the Worm along with the graphics infantilising the end of the world draw up a beyond-historical and chronology annihilating perspective.