Paintings / Festmények /

The painting was inspired by the war that erupted in a neighboring country. The creatures depicted exist in a natural state, where brutal life contrasts with a sacred space, emphasized through a Baroque-style chiaroscuro effect. The amoebas eating each other, allegorizing related nations' warfare, are recurring symbols. I have used it for my paintings before, the feeding structures of the Brain-Eating amoeba have a face-like appearance, in many cases similar to a smiley. For me, they perfectly embody a chaotic existence where rational, order-seeking thought has no chance; after all, they destroy the very organ that houses thought: the brain. The creation of this painting was a complex process that unfolded over two years. It began with a long sketching and preparation phase, during which I utilized both 2D and 3D software to construct the composition. Next, I moved on to the underpainting phase, which began after multiple priming layers on the canvas. Instead of using the traditional grisaille technique, I applied my version and painted approximately 25.800 spots over another six months. The purpose of this method was to avoid the dull flatness of shadowed, brownish surfaces and instead create rich, vibrant patches of color. Finally, the painting was completed using classical layering techniques and a play of textures. The translucent, iridescent surfaces were treated with thin and even layers, while the rough, granular areas were built up with thickly applied paint for a more tactile effect, creating a contrast between them.

A fantasy portrait of the Rococo marquis, with a head composed of carnivorous plant- and egg cell-like formations. A marquis who spent most of his life in prison and was known for his overflowing sexual imagination. The one who called his scenes 'figures,' carefully composed them, and brought them to the stage—a marquis whose imaginative power, artistic freedom, and consistency had an overwhelming impact. Eros and death—the two main driving forces—amplified to infinity. Due to its miniature scale and the need for meticulous detail, I chose a copper plate instead of canvas, as its smooth surface allows for finer precision. I prepared the surface similarly to copper engravings, aiming to create a base where the texture of the etching interacts with the paint.