There is no meaning in dramatic representation of the human shapes if they position doesn't explain the drama.
These are not drawings. They only look like it.
You can think, that we have more in common than what separates us. But, if you don't want, you don't have to.
This artwork is constructed from scattered flour onto the ground - as some other one before. Scattering flour onto the ground is a kind of provocative sacrifice.
I used a face detection algorithm in the installation titled Population. The algorithm made the installation work, and it was also the subject of it.
This artwork is a series of infinite still lifes. Expands the boundaries of space and meaning of still life, if it\'s possible.
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.
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.
The empire has its own geometry. There is always a tower in the centre of an ideal city. The city/police are at the foot of that tower built by a strict plan. The main point is, there is an order viewed from the top.
The time magnet shows the structure of the time from plan view, as we never could perceive.
The decimal number system is simply not magical enough to measure time.
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.
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.
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.
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).
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.
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.
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.\'
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.
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\'.
I put wave-sources (transmitters) to the half-section of the shapes\' sides. I accounted the wave-interference for a water-like liquid.
The Ideal City is also a geometrical representation of the Ideal Society.
I wanted disguise the artwork-context, that\'s why is it a wallpaper. The image covers the wall, not hangs on it in frame.
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.
Like a hourglass: Clear, that every grain of sand goes to the lower pot, but there is quite hard to know, in which order.
The clock is the only human machine, which does not manipulate the nature. It shows the time, does not make or destroy it.
Sometimes hundred shapes fit well, but the next does not, because of a wrong decision was taken fifty shapes before.