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Budapest: Basia Górska
October 4, 2017 - November 9, 2017
MELTING ON SURFACE
Artists: Basia Górska, Fukui Yusuke
Opening on October 4th at 7pm
Opening speech by dr László Beke
Budapest’s international scene of contemporary art, Platán Gallery’s next show represents four countries at the same time – Japan, Poland, England and Hungary – in the context of two artists’ works. Basia Górska is a London-based Polish fine artist, while Fukui Yusuke has been living in Budapest for many years.
Their works of art exhibited at this time have become unique due to the act of renouncing a significant element in painting. This phenomenon links their works together, yet, at the same time, their artistic self-expression is apparently different: while Fukui Yusuke renounces colours, structure is relinquished in Górska’s works of art. The simplest primordial forms, circles and spheres appear in Górska’s paintings. Even the primordial forms are not really present, only pulsating, oscillating spots. These spots’ consistence cannot be expanded, therefore these shapes reflect on the primordial forms of both the micro-world (atoms, nuclei, components) and the universe (planets, stars, galaxies). Moreover, the initial, primary forms simultaneously encompass both the BEGINNING and the END of all things. However, the above-mentioned conjecture might have been created by our minds only, because we are compelled to think conceptually. As a matter of fact, the thought-provoking artistic idea is probably not as complex as it seems. The primary forms on the surface cannot be broken down any further; the spots of colours are created without a concrete boundary, a dividing line to mark the limits of their shape. They indicate themselves only: the finely tuned colour harmonies are capable of encompassing or evoking a meditative silence and peace by melting the tranquility of colours on the surface of the paper or canvas. These works might be two-dimensional in their physical sense, but they still expand in the presence of the viewer, unfold, and create an abstract vision of a limitless virtual space. The contours of objects, the boundaries surround us and the things in the world in which we live, therefore they are essential in terms of identification and recognition of things, yet, unusually, the boundaries in these pictures are completely missing. As a result, our eyes are meandering around aimlessly, without anything solid to cling to, trying to ‘read’ the pictures, until our mind becomes conscious of the fact that there is no need to strain, there is no pressure on us to seek and find the appropriate concepts; we must disregard everything and leave all the concepts behind in order to let ourselves to perceive; to see what we see and feel what we feel.
Fukui Yusuke’s exhibited artworks, even though they are paper-based, can be regarded as paintings. These pictures, painted by ink, lack colours. However, they are ‘picturesque’ on purpose; this is why they are paintings rather than drawings. Like Górska’s pictures, these images are not supposed to be interpreted by conceptual means. During the creative process the artist’s conscious mind is ‘turned off’, and automatized movements from the depths of his subconscious take control. The lack of colours is compensated by the richness and diversity of forms, and the multiplicity of structures makes the paintings remarkably vivid – almost ‘colorful’, one might say. Just like Górska’s artwork, Fukui’s pictures are pervaded by a sort of meditative silence and tranquility (we can notice these characteristics in Fukui’s other works as well), and it seems that these paintings are required to be ‘interpreted’ and ‘read’ exactly the same way. In order to infer the essence of Fukui’s paintings, a contemplative state is ideal wherein full relaxation is, ambiguously, juxtaposed to high concentration. Fukui’s works of art, especially his pictures painted by ink, are inextricably connected to the traditions of Japanese art, even though his works are not portrayals that attempt to represent reality. His works are not calligraphic, (except his signature), yet, there is the spirit of calligraphy pervading his paintings as a hidden power, which controls the artist’s hand during the painting process. Another important theme is that his works are usually serial pictures, sequential paintings, made in one long session, immediately after one another. This method or technique is likely connected to the above-mentioned concentration, wherein the mind is in a certain state of consciousness. While working, the artist can produce systematic sequences, in which the incredibly plentiful and rich attributes are almost similar to natural forms melting into the same features that are particularly the characteristic of the series.
Melting on Surface was organized with the collaboration of Platán Gallery, MissionArt Gallery and Everybody Needs Art. Basia Górska’s series, ‘Personal Sphere’ will be available to view at Art Market Budapest international contemporary art fair, at MissionArt Galery’s stand.