Although mankind has spent thousands of years designing interiors and making them as comfortable as possible, walls have always separated us. As we cannot be both outside and inside, we are sometimes excluded, sometimes enclosed, sometimes protected, sometimes deprived. For the human being, who always gives these walls an existential function, they do not exist simultaneously in two qualities, despite their dichotomous nature. It is not without reason, then, that we are always living under the attraction of walls that again and again conceal something.
Balázs Hugyecsek’s exhibition is also based on the built environment, which is characterised by alienation in its use of materials as well as in its formal world, as he attempts to detect the intentionality behind our constantly changing world between the bricks of the Lajos Vajda Studio Cellar Workshop.
Like the legend of Kelemenne Kőmíves, the woman who built the wall in the Hungarian folk ballad, the legend of the Great Wall of China, which was being built, was based on the bones of the dead. It is as if man and the wall are two mutually conditional beings in the world. Ever since one finger has been turned to face the other, the hand that became the paw has itself marked out the main stations of evolution, providing the possibility of construction. Although the wall, built for centuries as a monumental monument to failure, could also be a fitting metaphor for our modern civilisation.