work in progress

Exhibition: Undefined energy fields

Making space

For me the Most important is to create a space. As a child I always had a feeling of homesickness iI felt it sort of in my chest. Even when I had been at home. I never knew, what to do whit this. It became better when I started to travel. It did not matter where I went. A journey makes human feel so small, so fragile and at the same time captivating. Traveling is major moment to  think about the sequential nature of human life. When I travel, I try to make a connection with the space and the time, where I am traveling. I try to catalyze an experience, a first hand knowledge of elemental time. 

After the traveling, I am at new, still unknown place. It is a place to discover, to feel the difference from all other places. I like to stand calm in this space, and allow to be a part of the energy fields of this particular space. This space talks about human life and how this space changes to an entropy of attention. 

With these drawings I always try to make a space, where the observer can have a moment of experiencing the space-time.

Show in Vienna 22th of november

Pm

https://soundcloud.com/adrienn-dors-nszki/pm

Untitled

2013, 230 x 156 cm, color pencil on paper

IF THERE ARE ANY SIGNIFICANT MOTIFS IN THE DRAWINGS, THEY HAVE SOMETHING TO DO WITH THE DIFFERENCE BETWEEN REALITY AND PHANTASY.I HATE REALITY, ALTHOUGH IT MIGHT BE THE ONLY ONE AMONGS THE PLACES SUITABLE FOR REMEMBRANCES WHERE I CAN HAVE A BEEF STEAK AS WELL. THAT'S BAD LUCK.MOST PEOPLE ARE UNAWARE OF THE DIFFERENCE BETWEEN THE TWO EXISTANCES.THUS, NO WONDER THAT BY THE TIME THEY REACH 40-50 THEY GET COMPLETELY CONFUSED.EVERYTHING YOU BELIEVED TO BE REAL JUST BECAUSE YOU SAW IT AND LEARNED IT FROM MOVIES AND PHOTO-ALBUMS, AND YOU WERE "FORTUNATE" ENOUGH TO HAVE BEEN GIVEN, ALL THIS BECOMES NOTHING MORE THAN THE THROBBING FEELING ONE GETS IN THE BUTT AFTER SLIPPING ON THE WET FLOOR.ACTUALLY, THIS SENSATION IS MUCH CLOSER TO REALITY, FOR REALITY ACCORDING TO ME IS HARD, RAW AND WET.LOOKING AT THESE WORDS BY THEMSELVES, MY PREJUDICE IS NOT NECESSARILY A NEGATIVE ONE. HARD - IT CAN STAND ON 3 FEET ON A PLANE. RAW, THUS IT CAN BE SHAPED, IT IS IN THE PHASE BEFORE BEING PROCESSED, AND IT IS WET, SO I CAN DECIDE IF I NEED IT OR NOT.THIS IS PRACTICALLY THE FULL SCALE OF OPPORTUNITIES. THE FACT THAT WE AVOID FACING IT AND KEEP LONGING FOR THE EXTERNALLY MANIPULATES PROPS OF FABRICATED SCENES, JUST TO RUN AWAY FROM IT ALL - IT'S ALL PATHETIC, BUT VERY HUMAN.

Diminishing lights

2013, 225 x 156 cm, color pencil on paper

Complex illusions

2013, 217 x 156 cm, color pencil on paper

Jammed heritage 

2013, 220 x 156 cm, color pencil on paper

Alteration

2013, 220 x 156 cm, color pencil on paper

Eudaimonia

2013, 156 x 200 cm, color pencil on paper

Never changing little movements

2012, 250 x 156 cm, color pencil on paper

  Nice and easy games by Achilles

2013,  245 x 156 cm, color pencil on paper

If it's black and white, it will blow 

2013, 220 x 156 cm, color pencil on paper

Prologue

Painting is far away from the people's life and thinking in the commodity producing society. People are frightened of painting, because it scares them or makes them feel insecure. So they put it down. 

It should not be like this. This strange art-form has its charm, that it can combine reality and phantasy in such way that it will stay vivid eternally. It has another nature as well, and that is why one is not excluded in front of a painting. It can ask the people to come and think and have questions. The pictures represent an honest point of view, but instead of settle on one, it creates the moment. The "blink of an eye". In times like this, this is the most important thing what can happen to a human. You can take your time and look the context by yourself what you are living in. Nothing is pushed, nobody tries to sell you anything, you can take a tour from past to your present and from there, a quick look straight into the future, than come back and feel that you find something on your own. 

Andy Warhol made a series, emphasizing the fact that our perception of reality is secondary. I extremely agree with his statement. However I do not want to accept this state, because if it becomes a basic property of man, than we will be mediocre and meaningless and we will always fight the fire after the failure what we made before. The last one is sort of a given for anyhow. For me this is reality. We can do everything but only after making a whole bunch of failure-flush. For me it is ok. That is the nature of humankind. But I just hate reality. I prefer to do something from the elements of hard raw and wet reality with the desire, hope, joy and hard work of art. 

While I use variety of intimate places, public places and non places with the leak of action, I try to construct a scene, where a bone of a story is hidden, what calls the spectator’s creativity, senses to work. I want to hold a mirror to the spectator to have a moment to think about our present, how wacky,  unpredictable, obscure and fast it is. I try to invite the spectators to think, to be more critical with their present, to have questions about it instead of having fear.

Foreshadowing all the hidden blue possibilities

2013, 225 x 156 cm, color pencil on paper

Déjà vu

2012, 215 x 156 cm, color pencil on paper

Scene has set

2013, 156 x 365 cm, color pencil on paper

Drama, drama and its beloved specificities

2012, 225 x 156 cm, color pencil on paper

Drama, drama and its beloved specificities

2012,156 x 225 cm, color pencil on paper

Waltz...

2013, 245 x 156 cm, color pencil on paper

Quick look from the bush

2011, 156 x 210 cm, color pencil on paper

It feels like, but it's not

2012, 220 x 156 cm, color pencil on paper

Expect, suspect

2013, 156 x 220 cm, color pencil on paper

Busy, messed up, but please never mediocre

2012, 225 x 156 cm, color pencil on paper