Dialogical co-dissolution

Ulbert’s pseudoscientific structures infused with human sciences (anthroposophy) and psychoanalysis as well appear to be made of mysterious notations but it can easily broken back to fundamental elements. In his works he mainly examines the centuries old topoi built into human thinking related to materials, colours and shapes. The visitor can experience a complex system where different ages and cultures interlace with mythological figures, myths entwine with descriptions of laboratory research results and motifs are reduced to signs and symbols to confuse.

“I am interested in the contact between signs and symbols and how can these be understood together in a pop based interpretative domain.”

Ulbert does not tend to use specific symbols but with abstracting certain things he manage to turn them into signs which gain a symbolic meaning as well in the end. His motifs like stairs, the pyramid, the well, the chimney, the volcano always levitate between these two stages, between being a sign and a symbol. The appearance of the rose quartz crystal motif is a good example of objects with additional meanings as we can look at it as a simple crystal but we can not neglect the archetypical connotations formed through centuries. These archetypical connotations become common knowledge and transform into beliefs and superstitions as a result of a collective intellectual association process.

“The exhibited model layout is actually a mimicry of differently charged artificial and organic materials in flat and spatial dimensions.”

This kind of need for reduction, the experimenting with the effect of different materials on each other and its analytical examination and a constant researching attitude describe Ádám Ulbert’s artistic practises. He is a kind of “rationalist alchemist” who coordinates new meanings generated from the connection of substances in an artistic process.

The title of the exhibition also refers to the analytical observation of the influences of objects on each other. Dissolution does not visualize evanescence, but a transitive state that leads to a new quality for the material. The exhibition consists of drawings, a video work and a complex installation is a psychographic model for intuitive scientific research with a rose quartz crystal levitating in the centre with positive impact on for example dreaming and love.