FRAGILITY OF HUMAN CONDITIONS

FRAGILITY OF HUMAN CONDITIONS

DULISKOVICH BAZIL’s exhibition

2011-03-01

OPENING DATE: 9th March 2011. 6.30 pm

LOCATION: Faur Zsófi – Ráday Gallery
25. Bartók Béla str.
1114 Budapest
Hungary


For one breath…

On Duliskovich Bazil’s impulsive paintings silent tranquility reigns, which weaves his works as spider webs hiding int he corner and streched to the braking point as the specially flavored Eastern Europian motifs are just to dropp.

It is much easier to feel and get to like his works’ sensitive taste than to research the operation of the works themselves. The one hand sympathetic paintig, carrying strong emotions and aura, on the other hand, however, the difficult to disentangle conceptula content is an arduous task for the interpretes.

The most expressive feature of the artists works displayed in Faur Zsófi – Ráday Galery is quiet wisdom, the formation created with experience and demanding sofistication. While carrying out a wide variety of topics, he deploys a variety of formal and expressive painting tech features even parallel to each other. Oeuvre to date, apparently heterogeneous art collection yet makes a consistent whole, which is defined by Duliskovich’s extremely strong, individualized paraph.

It looks like he paints in a brief, or at least that is the viewer’s impression. As if it would be unnecessary to wait for the paint to dry. Of course it is not denied that the consciously unleashed random plays an important role in this. The excessive regularity spoils the pictures stiffening in their own weak systems. Allowing the paint free path lets no semblance of perfection prevail. The sense of imperfection is an essential element wich is just as the own of the people on the pictures thus suggest the fragility of their existence. The painter fills the traditional paintin genres, such as protrait or landscape, with new content, and placing his classical symbols in an unusual context which makes a brand new symbolism fed from his own inventions.

Unleashing the artist’s inventions, the random consciously left to prevail mostly lies in the paintings structuralism. One of the most important features of the artist’s works is the startification both in the carefully composed image-space and in the materials used during the creative process. A succession of different layers of paint is created almost spontaneously while creation as a newer, bolder shade brings the next one along.

The picturial planes, reminding us a montage, emphasize the two-dimensional of the surface of the painting. The picture breaks out from the semblance of creating illusions by this, and the painting obviously becomes art. The picture stands by itself proving it’s imperfection and incompleteness. The picture itself manifests imperfection of it’s own. This in turn is closely linked with totally different from the usual, bold picture-, or we could say „color cuts”, which shows the painter’s possession of the entire picture-space.

The exhibition of Duliskovich is exeptional for the installation too. In addition to the usual pairing of oil on canvas, pictures on the walls can be seen once with frames, somethimes without the frames, -free canvases- suspended, and morover some strong paper-based works can be seen. The aim of searching the variations of exhibiting is not to follow fashion trends. For him the basis of the picture, or how to implement them is just as part of the creative process, just like the enigma ofpicture adjusting or the substrate of the exhibition.

Kitty Józsa

Viewed: 09.03.2011-16.04.2011.