Marcell Nagy’s current works offer an immersive sense of reality. His paintings are a manifestation of instinct and natural inspiration. In his spontaneous, expressive use of motifs, we find many sacral overlaps, the result of an individual but also a collective vision of the world. Roots, veins, lymphatic and nervous systems, chakras, organs – some of the forms he finds in his own micro-and macrocosm.
According to Max Ernst, ‘True sensitivity is born when the painter discovers that the whirlpools of wood and the bark of water are brothers, the stones and his own face are twin portraits: and then the world slowly contracts, and the artist sees that behind the rain of appearances there is a swelling of great and essential signs which are at once the truth of the person and the truth of the universe’. In Marcell Nagy’s work, this sensibility is felt through spiritual unity. The religious charge is reinforced by the symbols and emblems of the spiritual culture carried by the Sanskrit language. This mysticism is responsible for the calming tension that pervades the works and for the overall stylistic image, which gives a sense of the subtle interconnectedness of all the elements.
The triangular depiction of shapes bordered by strong contours is highly characteristic. The triangle is also seen as a symbol of balance, of resolved opposites, where two opposing forces are joined in harmony at the third point. His meditating figures or natural forms are arranged around a vertical line of forces where they dissolve into each other to create their common form of being. The continuous union of man with the spirit of nature, the sacrality of each segment, is the main theme of Nagy.