Still life II.

This artwork is a series of infinite still lifes. Expands the boundaries of space and meaning of still life, if it's possible.

2017
Still life II.

Still life I.

I wanted to show the fragility and strength of imaging.

2016
Still life I.

Narration

Our stori­es are con­struc­ted from the same litt­le dra­ma­tic bricks. But the final re­sults are never the same. There are no iden­ti­cal lives, no iden­ti­cal stori­es.

2014
Narration

Oraculum

The sentences hidden behind the QR codes sometimes are funny, sometimes provovative. Some of them - the chance is very small though - they are made the visitor chage his life.

2014
Oraculum

Libum

Libum: pancake sacred to the gods.

2013
Libum

Perfect city II.

The empire has its oen geometry. There is always a tower in the centre of the ideal cities. The city/police are at the foot of that tower buildt by a strict plan. The main point, there is an order viewed from the top.

2012
Perfect city II.

Time magnet

The time magnet shows the structure of the time from plan view, as we never could perceive.

2010
Time magnet

Clockwork IV.

The decimal number system is simply not magical enough to measure time.

2010
Clockwork IV.

Clockwork III.

The third clockwork is movement. There is a field covered by clocks. Their clockhands move contiounusly following a set of rules. The rules are based on time and the position of a spectator driven spot.

2007
Clockwork III.

Dark geo II.

Dark geo was produced by placing drawings on the rhombuses of the Penrose tiling. As the drawings meet where the sides of the rhombuses do, a labyrinth is created, or at least a network. There are two kinds of drawings on the rhombuses; one can be seen by natural light, the other by ultraviolet light.

2005
Dark geo II.

Dark geo I.

Dark geo was produced by placing drawings on the rhombuses of the Penrose tiling. As the drawings meet where the sides of the rhombuses do, a labyrinth is created, or at least a network. There are two kinds of drawings on the rhombuses; one can be seen by natural light, the other by ultraviolet light.

2005
Dark geo I.

Rule

They could be called stillife.

2004
Rule

IFS drawings

These drawings seems to be the result of a deep meditation of a sensitive, but virtuoso drawer. They fit into the scratch-book of a nature-believer, but abstarct painter's (like Agnes Hincz).

2001
IFS drawings

Perfect city

I wanted to walk at the streets of the Ideal City. I wanted to know, how it is look like from lower view what looked so perfect from top view on the map.

2000
Perfect city

Recursive artwork

I placed two light sources onto the ground of the cellar. I put a stick into a hole in the wall. The stick had two shadows. I made new holes at the end of the shadows, and put two sticks in them. The two new sticks have two shadows. I put four new sticks to the end of the four shadows... and so on.

1999
Recursive artwork

100 drawings

The 100 drawing is a 100 piece series of 100 x 70 cm drawings, maybe print is better word. Citation from Gábor Andrási: '... these are not drawings.'

1999
100 drawings

Slow artwork

In the back of the clocks the keys rotate counterclockwise, but at the same speed as the clock hands. The rotating keys move the clocks on the ground.

1994
Slow artwork

Clockwork II.

All of them is a 'memento mori', like the sun-clock of the Benedictiner Monastery of Pannonhalma. Its text: 'One of these hours will be your last one'.

1995
Clockwork II.

Penrose rain

I put wave-sources (transmitters) to the half-section of the shapes' sides. I accounted the wave-interference for a water-like liquid.

1995
Penrose rain

Plasterwork

The Ideal City is also a geometrical representation of the Ideal Society.

1995
Plasterwork

Penrose wallpaper

I wanted disguise the artwork-context, that's why is it a wallpaper. The image covers the wall, not hangs on it in frame.

1995
Penrose wallpaper

Penrose-parquet II.

This method gives the negative of a tiling. This second tiling is very different from the original. It is constructed from 75 kind of shapes, some of them is so rare, that there is none of them in the installation.

1995
Penrose-parquet II.

Step

Like a hourglass: Clear, that every grain of sand goes to the lower pot, but there is quite hard to know, in which order.

1994
Step

Clockwork I.

The clock is the only human machine, which does not manipulate the nature. It shows the time, does not make or destroy it.

1994
Clockwork I.

Penrose-parquet I.

Sometimes hundred shapes fit well, but the next does not, because of a wrong decision was taken fifty shapes before.

1994
Penrose-parquet I.