Breathing In Black
Words by Zsolt Gyarmati
It is the ambition to create multilayered picture compositions that stands in the centre of my actions, which consist of the synthesis of event-debris, informel, hard-edge shape fragments and sometimes entirely banal momentums. The pictures examine the contaminating properties of hitherto unspoken contents in the memetic sense, so, when analyzing the surface of the paintings, we speak about none other, than the presence-demonstration of the current meta-subjective idea.
The result of my approach to art is the insertion of my personal world of sensations – as the rationally and verbally indefinable whole feeding on external impulses, into an individually communicative entity (piece of art), which is then, in the distress of articulation, moulded into picture modules. The inner image hence turned external is, on the one hand, built of the posteriority of recognition, and the psycho-mirror reconstructed from the present, on the other, that is, the perception of magical realms carrying the subject of trauma.
According to my worldview, the original position of human beings can neither be found in Nothing nor in Information, but somewhere stuck in between these two entities, in a state, called Noise, or in other words, in the stream of uncomprehended background messages completely disturbing meaningful enquiry. Therefore, information Noise, which overwrites physical reality in the imagination, and then, causes trauma in the course of perception, becomes the ultimate basic experience in the process of conceiving the image. The trauma pushes in two opposite directions: destruction and creativity. The possible messages, which bear the contents of the communicative entities, can be composed along this dichotomy.
All this – or the process, in which the shapes are turned into form - happens with incredible speed, or rather simultaneously: on a different – mostly not pictorial-emotional, but pictorial- intellectual level of consciousness sustained by particular environments, or spheres. Therefore, all shapes can disappear just as quickly as they came into being. The rightful claim for meta-subjectivity in this case, is the reference to transhuman recollection. Interestingly enough, this process examples my own approach to my creations. I seek to perform the optical destruction of my artworks by continuous rethinking (repainting, over- painting, and reassembling), in the course of which the older layers sink into the new ones. Retrospectively, it is a behaviour that only respects the intellectual value of the work, regardless of the – here manifest – finite autonomy of the surface.
By the continuous contextual changes, my installations create such a real form of imitation, – or form of existence – in which there is no determined and recorded time: my works never actually reach a completely finished state. By this means, the multi-time pictorial information – or the universal world of picture-modules created by the continuous reinterpretation of both material and spiritual basics – demonstrating the transition between the pictorial-intellectual sphere of consciousness and the physical environment is established.