László Mulasics: The 90's April 24, 2008 - May 24, 2008
Magántulajdonban
Magántulajdonban
Magántulajdonban

Mulasics László (1954 Szepetnek– 2001 Feketebács) is a member of the 1980s artist generation of „New Subjectivity”, who became well known for his unique wax-painting technique (encaustics) and his use of molten metal foils in his canvases. From the 90-s the visual world of Mulasics evoked archaic buildings, mystical objects, ancient continents, astrological and alchimical signs. In his series he expresses the energy and renewal of nature through his dynamic and monumental forms.

In the oeuvre of Mulasics, wax, tin, copper bear spiritual meaning, often organically connected to the thematics and message of his works—the mystical presence of wax and metals is not foreign to the Western European avant-garde art of the 70s and 80s, such as the wax works of Joseph Beuys or the metamorphic paintings of Sigmar Polke. In his subtly structured, layered abstract paintings, the sensuous quality of the surface, the richness of surface are organic carriers of meaning. The works of the artist, who passed away in 2001 have now become permanent elements of both nationally and internationally renowned art collections and museums: we can locate his encaustics and metal foil paintings as well as his mixed media works in the National Gallery and the Budapest and Viennese Ludwig Collection, as well as the most outstanding contemporary art collections of Pécs, Graz and Sarajevo.

This year in Varfok and XO Halls, we introduce graphic works and paintings of the 90s, as a continuation of our 2006’s exhibition of Mulasics’s works. In his graphic works exhibited in Várfok Hall Mulasics the dynamism of surfaces apparently in motion, the sensitively structured, concrete, abstract forms alternate with extensive metaphysical spaces marked and patterned with signs of the zodiac. In XO Hall we exhibit paintings from the nineties: his works, created with the archaic technique of encaustics, were built in layers, with frail, subtle pieces of gold or silver foils placed in between the wax surfaces, but his use of molten metal, wax, reproductive printmaking and photography techniques is also significant. The dynamism of his painted backgrounds is often balanced with the robust staticity of his thick wax and metal surfaces, his massive geometric, abstract motifs. The monumental „fissures” of molten wax open space to meditation, adventures and plays of our glance over the surface: the strata of layers that complement one another and build upon one another exude a sense of timeless harmony.

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