In information theory, the signal trashold, the signal-to-noise ratio refers to the reference value that determines whether a system perceives an incoming pulse as meaningful information or whether it remains unnoticed as part of the background noise. Consequently, the exhibition focuses on that uncertain liminal moment when something emerges from the background and becomes meaningful to us.
The starting point for Ádám Boruzs’s paintings is provided by waveforms and various data-based structures. At first glance, these forms resemble diagrams or measurement results; however, the works do not depict specific scientific phenomena. Once transferred into the medium of painting, their original function recedes into the background, while their structure remains present.
The various waveforms and systems layer upon one another, intersect, partially obscure, and transform one another. At a certain point, it is no longer clear whether what we see is still the original sign, a distortion of it, or a newly emerging pattern. The exhibition explores precisely this uncertain transitione — the boundary where data becomes an image, a signal becomes a pattern, and information becomes a sensory experience. Thus, the images do not offer ready-mad answers; rather, they create visual situations in which the viewer participates in the creation of meaning.
For the artist, noise is not merely a flaw or a disruptive factor. New connections and structures can emerge from disorder, which can interrupt a piece of information while simultaneously serving as the condition for the emergence of something else. Sign and noise are thus not opposing concepts, but states that constantly shape one another.
In his works, Ádám Boruzs does not seek to answer the question of what a given sign means, but rather how something becomes a carrier of meaning for us. Where does the boundary lie between data and image, system and pattern, information and perception? And what happens to a sign when we no longer know its source, yet still try to read it?