At the intersection of the two artists’ work is the image as a self-reflexive field. The illusion created by the image is not only a means but also an object of their work.
Fodor creates images that are literally impossible to see well. She uses visual solutions that serve to render it as difficult as possible to make out what is visible in the pictures. She is experimenting with the extent to which a conscious dramaturgy can be established in the way images are perceived. The time spent with the picture is also calculated into the mechanism of the image, and in the course of viewing, the readings that emerge can overlap and overwrite each other, keeping the interpretation in motion.
Horváth’s paintings, which often appear to be trompe-l’oeil or realist paintings, are more allusions despite their concreteness. He does not want to point and declare, but to perceive and leave free. This freedom manifests itself both in terms of subject matter and visual tools. Genres and themes are often played off against each other. He explores sources of inspiration and different levels of interpretation on an equal footing.