Mária Deák Németh starts from the furthest point on the orbit closest to Earth, as she attempts to penetrate the layers of memories with her graphics and, from there, unearth what has not yet completely crumbled away. From the finished compositions, the viewer — even if figures and forms occasionally appear — cannot deduce the subject of the memory; we do not know what happened, but we are able to sense its intensity.
Sándor Bátai’s works never break away from the earth’s surface for a single moment; they are direct and seamless representations of it. If we mentally extend his approach, we could even say: he undertakes nothing less than scanning the entire Earth, or at least its land surface, and then, using his manual 3D printer, casting it square meter by square meter and shaping the whole thing from recycled paper. Given storage and other practical constraints, the artist is forced to make selections, but this is really only a matter of scale; the concept itself embodies a demand for completeness.
Between the two spheres—the weighty levitation represented by Mária Deák Németh and the earthboundness manifested by Sándor Bátai — the works of András György Húber establish a physical and spiritual connection. Amidst the works of the first two artists — which feature palpably dynamic surfaces, are articulated by depths yet remain two-dimensional, and can be framed and placed under glass — András György Húber’s sculptures come into their own in space; they can be walked around and viewed from all angles. To fully appreciate them, in addition to the comfortable perspective of eye level, a series of movements — looking up at the sky and gazing into the depths—that require active engagement is also necessary.
Ervin Zsubori