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How Far Will You Go? - The exhibition of Eszter Sipos, Viltin Galéria

“My mind is preoccupied by the fragile nature of things, we are inclined to show everything as a whole, and I am interested in the impossibility hidden behind it.” – says the artist.

Eszther Sipos’ latest works aim at the visual representation of the thought expressed in the statement above. Her palette of art shows vivid use of colours, detailed, self-confident waterpaint drawings as well as a quotation on a Renaissance Majolika plate from the era of King Matthias. The narrative works of this young artist living in our contemporary pop culture deal with the questions of her generation. However, she is not led by the disappointment and sensationalistic topics which are typical elements of the neo-pop art. In contrast, she is driven by optimism. Her figurative paintings placed in the centre of her new works speak of permanence, and tranquility. Their surface appear as a unified whole but the structure outside the accentuated part of the painting is fragmented, disintegrated and a broken plate awaits as a symbolic message for the viewer to become whole again.

The other group of artworks that has seized the artist’s attention for the last two years is a “visual-diary” series reminiscent of the pages of her personal diary. The news fragments hidden behind the honest statements of her entries will enable us to reconstruct the exact time, social and political circumstances of her works.

Eszter Sipos was interested also in the case of her former works in the relation between the picture and reality. In one word, she set out to discover to what extent we remember a certain experience and how much of this experience she is able to turn into a message thus making it understandable to the viewer. Furthermore, she wanted to know whether she was supported or hindered by the figurative or the abstract canon of visual representation in order to achieve her aim mentioned above. Her installations made of smaller and bigger formatted canvas and paintings have become concentrated and are manifested in a closed tondo. The process of making a painting is constant: the starting point has remained a specific, personal experience that stays, takes root and becomes so strong that it takes its place on the page of a diary and by crossing even this boundary it becomes infinite as a work of art. The experiences and moments “rewritten” during the drafting process are defined as a reductionist base, which experiences are first stylized in terms of colour and form and are finally made into a plain figurative picture. Due to the responsibility taken for the artistic process, one can feel a muffled, untimely atmosphere being almost tangible in these paintings, which is indicated by the stylized fractures on her magnified “plate-paintings”. This double nature assigns an inner anxiety to her paintings. Her fragments, findings and diary images challenge the viewers to reconstruct the memories of the artist or of our age and generation. The artist never leaves the viewer alone in the process of this recollection, as the texts appearing as verbal messages on the surface of the paintings help the viewers’ identification with the actions. Moreover, they can also be seen as inspiring thoughts encouraging the viewer for further contemplation.

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