"The creation we are working on is a kind of diary writing." Pablo Picasso
On the winter of 2004 I started coloring out all the 1x1 cm squares of a huge cross-girded page. I wanted to prove myself – no matter what – that I am able to fill the whole of the page. The process took several months. Life past on meanwhile. I continued painting when I was able to do so, and I recorded every step of the development by taking photos of it – continuously. I have never colored the painting over after the making. During the creation I avoided using two colors: black and white (Because life is not black and white either.) There were times, when I wasn’t able to continue working for weeks, and I felt I would never be able to finish it at all. There were occasions, when it was very hard to continue – or more, to restart – it. There were moments, when I would have say from the bottom of my heart: that was it, I’m quitting, end of story.
At the end more than 7000 pieces of squares have been colored out by me, and I took 67 photos.
I have given it the title Big Work, but not because it is the masterpiece of my life, but because its size is enormous, and because I felt making is a big task.
A couple of close-ups was made as well, all of them giving a whole new impression of the painting:
There isn’t any limited depiction for the picture, the colorful squares have made their ways on the surface with calculable incalculability. I was never sure, if I am painting the right square at the time. I had started the work in eye-height, and finished it by sitting-standing on a chair. I noticed one square, which remained empty, absolutely by chance. And so the enterprise didn’t turn out to be a success.
Two tabloid-like compositions have been made from the series, one of them showing the making, the other one is showing a random order of the process.
A couple of years ago I was in a rusty old house: the atmosphere was depressing. The wall waited to be painted in one of the rooms, but right there I couldn’t realize the conception I had. I was waiting for years to be able to success it. Thanks to the Ipoly Room Gallery the plan could become real in January, 2007.
There’s a light wall, with a door in it. I took the wall and the door as paintable surface, and I painted it fully dark. I glued some golden stripes onto it randomly afterward.
At the end of the process the spectator can find him/herself literally out of (or in) a cell.
This means that the cell can be observed from two perspectives: we can either be in the cell (in this case there is dark outside, if we look out of it), or out of the cell (in this case it is dark inside the cell, if we look into it). Everyone’s free to decide where to imagine themselves.
I was taking photos of the phases of being out- or imprisoned in/out of the cell, and I have made a montage using the pictures done so – it is available here. After the painting and striping, I slowly opened the door in the last pictures: the existence of the entry/exit is the chance of hopeful changing. The gallery has ceased, the work itself, the cell: gone. That was the exact reason for the photos, and for a short video to be made – to record this project.
The adventures of a blue-coated small figure, in the realms of the wad, whipped cream, flour, lump sugar, foam rubber, and milk.
Mystical montage with Pin Art.
Old-school stop motion video from my balcony.