Endre Lukoviczky’s works, though influenced by Constructivism and Suprematism, undeniably sketch a new and distinctive problematic through his dynamic compositions, often using the image-organizing power of floating planes, whether to represent his mechanical interests or his metropolitan experiences in abstract spaces.
He is obsessed with space, moving with natural ease in a boundless medium free of earthly heaviness, his only concern being to give the impression of a wider and deeper space. Even his sketches for his paintings suggest that the spatial situations represented by planes and slits are the crystallisation of a continuous change of perspective, which allows us to glimpse new and new mysteries of the given spatial situation.
Lukoviczky’s cosmic cityscapes, however simple the geometric solids (slabs, gouges, cylinders) and surfaces that make up their composition, have a kind of disconcerting duality: They appear to represent a possible world without man, they are ideologically pure, where monumental space is dominated by a fearful silence, but this world is still man-made, and despite its impersonal objectivity, it is disconcertingly personal, only life has retreated into unknown depths.
Ottó Mezei