“… every period of time – a century, a year, one single night, maybe even the elusive present – implies the whole history” Jorge Luis Borges
I imagine that time is spherical.
I perceive reality in layers.
Maya`s veils conceal reality.
Can we look through the picture?
Beyond a certain point
“In her earlier works, exploring the most fundamental phenomena of vision and perception, Eszter used to play with the most basic questions of picture and painting, such as the difference between reality and the represented image, and the drama or mechanism of seeing and non-seeing.
The game with the levels of image and levels of reality, the exploration of the connection of image and reality, the self-reflective refinery somehow reminded us of Duchamp. Although nowadays she operates with abstract expression – the colorful, circle-form holes, the expanded spots are the continuations of the above-told gestures of undoing, disuniting the plane.
Lately she has been using the torus as a basic form. This is a ringlike form with its arch having a circle formed cross-section. This is a morphological and conceptual perfection, which can inspire the viewer’s imagination. It offers the possibility of holistic content as well as rich conceptual interpretation.
The form of the torus is now reduced to a relief reminding us to a cone.
Although this might extend the work into space, Eszter still views her activity as dealing with questions of painting.
She stretches transparent pieces of textiles either on monochrome canvases or install them into space. The circles painted on or cut out of the fabric deform because of the forces stretching them. She sometimes repeats this in many diverging layers. She plays with transparency, with the quality of the material, with the different waves of the nets covering each other. The colours are lucid, and because of their luminescent effect they often separate from their environment.
In this exhibition the change in scale results in the transformation of meaning/concept. The interference of the textiles layered on each other is less dominant, while it gets closer to a realization in space.
The use of space and colour is a step toward the holistic vision in which James Turrell’s and Anish Kapoor’s giant and industrial sized supremacies are realized.”
(Rudolf Pacsika, Balkon 2016/3.)
“The border opens and closes, helps and blocks at the same time – but is rarely transparent. On Eszter Poroszlai’s painted surfaces and object-like pictures all the borders are transparent.
The bright coloured, transparent and extremely elastic textiles appliqued onto monochrom canvas-bases or independently stretched and expanded as part of the space – originate from the world of dance and art of movement.
While on the earlier works the elasticity and transparency of the fixed materials is used to build two-dimensional layers of structures, on the latest installations it is to develop three dimensional space-stuctures.
The circles cut out of the cohesive surface of the material and deformed by the force stretching them remain the same.
Like horn-like holes, their forms layered on each other let an insight into dimensions behind.”
(Mónika Zsikla, 2015.)