Disturbing calmness

Our first joint exhibition could be a visual record of our more than a quarter of a century-long relationship, but the irregularity of our creative rhythm and the temporal irregularity of our possibilities can only give an account of this, wrapped in the intangible veil of our meeting points. It is typical that the paintings and sculptures avoid the human figure, yet its presence is palpable. The relationship between the landscape and the human built environment, the sometimes harmonious and sometimes disharmonious relationship between the world of natural fragments and objects, is essentially the result of a common source of spiritual experience of the material environment. We admire landscapes together, we touch similar objects, our tastes evolve together from the beginning.

Landscape and still life – as in paintings, so in sculpture – can appear simultaneously. The space that is temporarily divided up by the works is first and foremost a shared intellectual space. Just as the space of a painting is not a material quality of the painting itself, so of course the sculpture is not separated from its space merely in its materiality. Tactile perception and vision, the joint grasping of light and earth, melancholy, a sadness over the immaterial timelessness of beauty, are for us not separate concepts, forms of action. Perhaps drawing attention to this may be the first layer of this exhibition to emerge.

Péter Gálhidy