There are things I can imagine and I can draw. There are things I can imagine but I cannot draw. But, could I draw something that I cannot imagine? That interests me greatly.István Orosz
His individual graphic works of art are often related to postmodernism by archaic forms, art historical references, stylistic quotations and playful self-reflection. Themes of the natural sciences, especially of geometry and optics appear in most of his works. He is also concerned with the theories of vision and sight such as the way the beholder’s hypothetical expectations influence the visual and empirical perception of spatial constructions. He is likely to experiment with the extremes, paradoxes of the representation of the perspective to create the illusion of space. Also he does experiements to renew the techniques of anamorphosis when he distorts the pictures in such a way that it can only be seen from a particular aspect or in such a way that its new layer of meaning only reveals by the interposition of reflective surfaces.
Utisz (pronounced: Outis, means ‘Nobody’), his pseudonym is used since 1984 and it was also Odyssey’s feigned name in the well-known affair with the Cyclops that ended in the blinding of the monster’s only eye. According to Orosz’s symbolic and ironic name, his art is a kind of attack on the eye.
I have made an attempt to graphically visualise my notions in connection with time – I confess, mostly unconsciously – on the following pages. Leafing through them again and again, and viewing them together, for me it is only in this way, in the metaphysical aura of their succession that time has been rendered self-evident, the determining role of time made visible. That is also possible, however, that it is only for lack of something better that I call this time. Those who are astonished to find that looking into Heraclitus’s river, it is not into the face of their own reflection that they gaze, will perhaps call this melancholy, or the enigmatic sorrow of geometry, the majestic solitude of symmetries, the eternal doubt of the inhabitants of mirror-images, or they will perceive the hopeless Platonic relationship of perspectives with the infinite.