Microfacture coloris

The 19-image series consists of individual images that are quasi-montage units composed of 25 image fragments arranged in regular divided geometric fields. Each montage ensemble associatively refers to the further-reaching layers of meaning of colors. Viriditatis: green force, creative force, Solidus: solid, compact, Coeruleus: bluish shade, Albens: whitening, and so on; in summary, this series is a representation of colorism. As is known, color is nothing more than the appearance of different wavelengths of light in space-time. The peculiarity of Microfactura coloris—is it restlessness? tension? harmony built from opposites?—which, through the creative concept, places alongside the natural, organic aesthetic spectacle the constructive enthusiasm of the Anthropocene era. Capturing the emotional charge of colors was a cardinal, revolutionary challenge of modern art’s -isms, during which painters were captivated by the world visible beyond the studio, from Delacroix to Klee. Győző Sárkány’s “expedition to his creative self” did not require him to wander toward distant lands; the inspiring companion of his daily walks became the Bükkös stream flowing beside Szentendre. The works of Microfactura coloris concern the precise observation of small sensory perceptions, of nature’s motifs and their systems of relationships. And with a somewhat more emotional interpretation, they evoke Monet’s Water Lilies, with which painterly beauty was reborn, and which is not insignificantly relevant in a world dominated by violence.

Klára Hudra, art historian