The artist has manifestly created an essay of impressionistic impressions, or rather a collection of novellas, with his photo-based series. Masterful approaches, enlargements, the stoppings of the unstoppable. Variegation, the infinitized possibilities of color variability, seemingly ad hoc visual stories. Flammens, meaning flaming, Cerasinus thus cherry-like, Prasimus the leek-green colored, Fuscus which tells of everything that evokes dark sensations, Arcus pluvius rainy arc, can be nothing other than the conception of the rainbow. “Color is the keyboard, the gaze is the harmony, the soul is the piano with many sounds, the artist is the hand that plays, touching the keys and the soul.” – V. Kandinsky once wrote. The visual artist is in that exceptional position of being simultaneously both the author and performer of their works. His compositions are visual manifestations of symbolized life and world sensations. An important factor is photography as a means of expression, specifically the use of this experimental tool that reformed the artistic formal language of the past century. The duality that is the message of Microfactura vesicoloris states that while the image indeed resembles only itself as an abstract entity, yet the image is memory, the colors, spots, shadows, concrete experiences, the superimpositions of the artist’s inner impulses and motifs inspired by the external world.
Klára Hudra, art historian
