July 29, 2020 - August 29, 2020
György GÁSPÁR | Zsuzsanna KÓRÓDI | Júlia NÉMA | Zsolt TIBOR | Berta VALLÓ
The combination and juxtaposition of different artistic fields and media have become a standard artistic practice in the last decades. The dialogue between the fields of art can be seen more and more often in the variability of the artworks and their media. VILTIN Gallery's latest group exhibition focuses on the exploration of fine art's borderline's distinctiveness from different artistic positions. Concentrating on the connecting points, overlaps, interactions and the playfulness of a picture's boundaries.
György GÁSPÁR (1976) examines the borderline of architecture and sculpture through the medium of glass. His sculptures consist of geometric elements, characterised by a distinct abstraction, which arrive to their final form by the interplay of the one by one painted glass layers. His works are recognized as sculptures and three-dimensional pictures as well, where the transparency of the material with the alliance of op- and kinetic art raises issues regarding the limits of classical sculpture. GÁSPÁR opens up the forms and space then rebuilds them based on a new strict system involving chemical and physical experiments and the gesture of the simultaneous display of dimensions.
Zsuzsanna KÓRÓDI's (1984) glass objects reform and enhance the two dimensional solutions of op-art (Victor Vasarely, Bridget Riley) in her unique prints combined with her unique polished or painted glass lenses. On her works the transparent glass enlarges and animates the prints and painted layers placed behind, through this layering the spectacle, the movement, the dynamic and other points of view come to life. The two very different characteristics of the flat static graphics and the glasses lenticular or static feature provide the works complex and oscillating nature. The two-dimensional, optical glass works with an analogue starting point deal with the issues of image making and visual dynamics, where the viewers' movements activates the spatial and virtual rhythms.
The amalgamation of fine art, design and the heritage of applied arts defines Júlia NÉMA's (1973) minimal approach, her austere works merge the constructivist and the Japanese traditions. Different fields and techniques meet in her minimalist paper-porcelain objects and reliefs. The majority of her works with the help of intermediality clashes the materiality with her artistic approach. Her reliefs' material, the paper-porcelain is created by the artist herself. From the mixture of the porcelain and the paper's fibre the main characteristics of the two material arise, within whiteness live softness and hardness, elasticity and fragility.
Zsolt TIBOR (1973) imposes the viewers with exciting challenges regarding his works genre classifications: starting out from drawing, he creates collage-like compositions, which are often incorporated with murals, projections. In addition to his large-scale two-dimensional works, object and site-specific pieces are also made. TIBOR reorganizes the composition's components over and over again in a narrative or associative fashion, which are linked by the subjective elements net/reflections. The territory of the drawings' limit is questioned by the expansion of its physical and medial value, so are the limits of artistic expression. On his lyrical works, the classical genre of drawn elements are rearranged into detailed, often narrative compositions with keeping the material in forefront, yet insisting on the paintings conventional form.
Berta VALLÓ (1995) simultaneously uses analogue and digital techniques in her works, which reflect on consumerism in an ingenious and entertaining manner. Her prints resemble the worlds of a pop-art and manga visuals, which impairing with the narratives of storyboards raise questions on identity, gender roles and stereotypes. Her unique and dry humour gives a reflective tone to her meticulously detailed works. Her visual language is at least as fairy-talelike as grotesque, meanwhile being real and surreal with displaying familiar characters. Sometimes from the point of the voyeur's or her own eyes she shows the ordinary world filled with hidden messages. She has been featured as one of the best illustrators in Taschen's book The Illustrator. 100 Best from around the World.