Chromophobia

Dark spaces, night scenes, the lack of light. In the works the dominance of dark tones as well as the emphasis on black is unequivocal. However the chromophoby of Ádám Hollós is merely a disguise, a deceit, which in reality covers a hidden world. As soon as our eyes adapt to the darkness, the previously unseen matters take form.

As if we were in a twilight zone, in which the wonted scenes and characters of our world show their beforehand unknown faces. Sooner or later we start to sense, that the dusk of twilight and the darkness of night are not as homogeneous as we secretly hoped, they outline more and more clearly the elements and details of situations we, ourselves, do not want to face.

The prom glinting in the brightness of flashlights, the slippery dressing-room of the swimming pool, the barrack swimming in the reflector light, the cue of cars on the highway are all tools of a grey world that is characterised by requisite of efficiency, labour produced on conveyor belt and emptiness. Even so, the road from emptiness, through the constantly growing power of “concealed colours”, leads to a liberating, rich in emotion painterly gestures, and this is the peculiarity of Ádám Hollós, that collides with his ways of working.

Ádám Hollós is using his specific technique since 2010, through which he first fuses reality into rigid contours, then revives the essential forms through countless variations of painterly techniques and solutions. Thanks to the contrast the result received is a bipolar, ambivalent world, where the viewer, focusing back and forth in between the dimensions of the theme and the painterly experience, receives a chance to understand the full meaning of the artworks.