Splendor Solis I-II .
Two Animation-loops that interprets each other but also can stand alone. In both works a shining disc outlines from the closing pictures that connects to the picture of sun in the first few frames (the title of the films refers to this: Splendor Solis – The Splendour of Sun). The frames lead from one film to the other. Thus I use the form of loop both as poetic and rhythmic tool so that from one pictorial image another, different cycle can be blossomed.
During the creation of my first animation work, script and story board I realized that: I must accept the rules of a different genre so that I can reflect with help of its tools. Therefore I made a certain dramaturgy; essentially a story without characters. But this seeming characterlessness coincides with my original painter-creator intention that wishes to activate the current „sighted”. (Sighted means both the gaze of the spectator and the gaze that creates the artistic intention).
The role of mythic, historical and profane spectacle-forms in my painting is to make accessible the timeless presenceness, this mysterious, numinous and metaphysical ancient-base, beyond the constantly changing and passing phenomenona. We can interpret the spectacle overwriting motifs as the undifferentiated whiteness that filters through the cracks of the doors, or the forms of emptied buildings, the paths running into white highlight or a staircase both as light or absence, strictly in the sense that the Absolutum cannot be identified with any objects.
In animation, I’m interested in how gaze transforms the flow of spectacle. Will this loose but concentrated attention drift with changes or will it start to wander so that to form and live the stations of its journey?
In both films I apply the mountain silhouette as a significant motif that is somewhere bright and empty and somewhere full of tones: what kind of attitude and behaviour shall we internalize so that our wander shall lift our sight to insight.
Runtime:6 minutes 20 seconds
1974, Budapest, Hungary
Lives and works in Budapest, Hungary
+36 30 3373120
1995-2000 University of Fine Art, Budapest, Hungary, Picture-graphic department. Master András Baranyay.
Gábor Andrási defined his art as medium-conscious painting, and Gábor Rieder described as contemplative conceptualism.
Currently, he is dealing with the relations of animation with painting in his “Paths of attention”-project.
His publications and studies have appeared in Műértő, Balkon, Új Művészet, Ózon, Ars Naturae. Monographic book of his art works appeared in 2011.
2013 Endre Béla master award
2009, 2013 „Újbuda Mecénás” scolarship
2000 Kondor Béla-award
1998 „Two hundred years litography” First Price
WORKS IN PUBLIC COLLECTIONS
Antenna Hungaria Budapest
Contemporal Fine Arts Collection
of the Museum Association of Vác
Fondation COLAS Budapest
Kogart Contemporary Art Collection
Kunsthalle in Hódmezővásárhely
University of Debrecen
2008, 2007. Residence at the Accademia d'Unghereia a Roma, Rome, Italy
2005. Residence and participation in the New Delhi Triennale
2000, 1999, 1998, 1997. Élesd Art Workshop, Alesd, Romania
1998. Workshop at Delphi, Graceland
SELECTED SOLO EXHIBITIONS
2016 Constructing from the height B32 Gallery Budapest
2015 ONTOGENEZIS Municipal Picture Gallery Budapesten
2014 The Paths of Attention. Video-animation projekt
„Óbudai Társaskör” Gallery
2013 Spcemakers with Róbert Várady, „Cifrapalota”, Kecskemét
2012 The Art of Memory Budapest Gallery
2011 Engrossment, Ari Kupsus Gallery, Budapest
Orientations, Pepper Art Projects Gallery, Budapest
2009 Consciousness and being, Bartók 32 Gallery, Budapest
2008 Hermetic gardens/ Giardini Ermetici, Italian Institute, Budapest
Orientation No. 1-2., M.C.P. Múzeum-kert és FKSE Stúdió Gallery, Budapest
2007 Contemplation, „Görög Templom” Projekt Room, Vác
Tradition transmitter, Inda Gallery, Budapest
2006 Fragments of Parmenides, Huba Gallery, Budapest
First view, „Szinyei Szalon” Gallery, Budapest
2004 The Gardens of Contemplation , Szinyei Szalon, Budapest
1999 Natura Nuda – Natura Morta, (with Csaba Filp), „Óbudai Társaskör” Gallery
1996 ColourSpaces(Csendéletek), Cirkó-Gejzír Gallery, Budapest
Attila Kondor: The sign of the Unconditional
Can the unrepresentable be represented? In Byzantine aesthetics, the idea of uncreatred light was rendered by the golden background of icons. An extraordinary Indian jain sculpture of Liberated Mahavira shows the form of his body -- cut out of a golden plate -- as an empty space with the characteristic silhouette around it .
The clear white pigment between the door-frame and the window sashes stands out of the rest of the sensual elements of the compositon. The experience resulting from concentration is the starting point. The white form is so intensive that it almost burns into the gaze; this negative form is separated from the positive form, which is the mark of the Unconditional. In this series I returned to the themes of my three previous series from my new starting point in order to saturate my previous themes with the transparency of unconditional existence.