Győző Sárkány, who in recent years has been evaluated and interpreted in various forms and volumes by the profession and the press, sometimes draws from literary works, sometimes from the outside world or from inner motivation. His works have come of age, whether they are obviously linked to literary pieces or it is left to the audience to find a companion, an intellectual context for the works in themselves or in other artistic disciplines. The regularity of the series is the relativity of time turning in on itself. For me, a head; for some else, a wing; and for others, an animal and plants, shape and ornamentation, part and whole, encounter and struggle, beginning and restarting… It is not easy, if worthwhile at all, to draw the line between external and internal, free fantasy and a fixed subject.
Sárkány’s works: thoughtful, clear, rational and at the same time passionate, whimsical open forms. There is no dramatic mannerism, no sequencing, they are always together and complementing each other. Most of the works are built on constant basic motifs. This also gives his works their striking musicality. The instruments sound: a story that begins on one page continues on another.
In the process of composition, the harmony becomes furious or melancholic, light or heavy. As the micro-particles organise, some groups of forms drift away, others spread out, accelerate, or change direction. The work itself is neither figurative nor non-figurative, neither organic nor geometric, neither soft nor hard. In fact, every work of art – whether graphic, musical or even literary – is nothing else than an illustration of the artist’s set of experiences. ‘The diversity, stylistic pluralism or postmodernity of Győző Sárkány’s compositions is illustrated in each of his works. His toolkit of most recent variations is rich and homogeneous, his technique is more elaborate and thoughtful than ever before. Dürerian elaboration, Boschian fantasy, Bernini design.’
Ildikó D. Udvary art historian
