László Győrffy: The Death of Body Parts September 09, 2010 - October 09, 2010
Magántulajdonban
Magántulajdonban
Magántulajdonban

You are cordially invited on Thursday Spetember 9th 2010 between 6 and 8 p.m. to the vernissage of László Győrffy's exhibition entitled The Death of Body Parts in Várfok Gallery's Várfok Hall. The exhibition will be opened by Márió Nemes Z. poet, critic.

Várfok Gallery, after it’s summer break in August, starts the new season with an astounding exhibition presenting László Győrffy’s newest works. It’s not by accident that on the door leading to the one man show - analyzing through copper-etches and paintings the notion of the seven cardinal sins - the „+18” sign can be seen.


László Győrffy’s seven capital sins-series from 2009 - each one of the seven sins being painted on a heavy wood-panel quoting medieval works -, proposed a new lecture of the hundreds of years old sources of Human vices. Győrffy back then wraped his message in a strongly clear-out visual world. The final pictorial form of the diagram-like paintings represented the sins in a symbolic way, reflecting on actual phenomena. At the same time as these works were born, parallel to the realised iconography, different other thoughts about each of the sins ramped in the artist’s head, until they were finally put on paper for the occasion of this exhibition, appearing in a very new way.
László Győrffy (Budapest, 1976) chose this time copper-etching to mediate his thoughts, enabling this way the realisation of a particular visual world, and communicating a different approach. All together seven prints were made of the series including seven pictures – which is quite unusual for this genre -, of which „7x7” series one is presented in its original form at the exhibition, two are transformed by gouache and water-colour, uniquely changing each of the pictures. „The series entitled Hell of a repetition – 7x7 capital sins – quoting Stephen King („repetition is Hell”) - presents a common denominator for human nature and the compulsory agreement, as well as the cyclicism of creation, invalidating the metaphysics of authenticity. […] This way the variants of the seven capital sins now presented may not have a „real” version: the central thought of the exhibition is that behind every image hides another one, so there is not one determined point of view or written truth, but an infinitely heterogene, performative flowing”, says Győrffy about his own works.
The etchings were completely created by Győrffy – from the preparation of the plates to the acid etching -, using a needle. This traditional, classical technique looks quite unusual coupled with the strong motives appearing on the different types of papers, which motives are often only to be seen by adult eyes. He then overwrites these ramping and accumulating forms with „infantile” drawings, translating a moral-free vision. The associative game appearing on the pictures, this „measuring of conditions”, does not want to judge society, since the works clearly show: their creator does not believe in a society-ameliorating force. The copper-plates obeying the needle become therefore a playground under the control of Győrffy, where reversed worlds, horror, infantilism and our epoch’s taboos dance together. Meanwhile the artist resists the personal, self-exposing, „romantic” creation process, and perturbs the spectators’ feelings by a disguised discover.
In his etchings and unique drawing-paintings, Győrffy unreservedly mocks not only the Chapman Brothers but the dogmas of Christianity too. More, the notion of society’s political correctness gets its own critic too: Győrffy presents it as a sort of new dogma, a kind of religion, but he spices the context with cynicism. His pictures do not have a moralizing purpose, the painter aspires to direct our thoughts - by an „extraterrestrial” eye - to some of the sins, which it seems - we wish it or not -, will remain characteristics of humankind.

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