At the same time my work strives to address issues related to past and present cultures of the place: the layers of existence. Imprints of ages in the earth and in our minds, signs and traces and their meanings for us, their personal and social narratives are in the focus of my interest. The fragmented, distorted or disintegrated city plans are used as signs, traces, and the silt of the past, blended with modern highway and metro layouts, patterns of present urban life. Maps are imprints of our living in a system, and like labyrinths they offer a rich ground for associations, deepening our understanding of our life and circumstances. As the urban structure develops, widens, thickens, clots and creates subsystems in history, the cities that live within us undergo an endless and continuous evolution.
I draw inspiration from the graphical appearance of urban maps, old or new, real or imaginary. I consider a city’s street network like its skeleton— a foundation for features that bring people together or fling communities apart, an imprint of times how the society uses or abuses it’s place of living.
Sometimes contemporary artists inspire my work. More than anyone else, Lili Ország had a great impact on my work. I share her love of abstract fragmented scripts in her suggestive but still enigmatic paintings. I often use such fragments to grasp the experience of balancing on the edge of conjecture and comprehension.
The choice of newspaper as a basic material plays a central role in my recent work as it provides further visual experiences by their ephemeral character. It is a fragile and poor stuff; the content is obsolete sometimes at the hour of appearance, while bearing fragments of important details from the near history. At the same time I use it as a symbol of overwhelming avalanche of fake and relevant news we have to distinguish day by day.
In my recent lacy, transparent works capturing the play of opaque and open elements plays an important role: the shadow behind the work adds another layer of complexity.