10dence gallery - multi-disciplinairy expressions of art

Eva Gyorffy - Hungary

THE “GAMES” OF EVA GYORFFY - MATERIALS AND SURFACES

by Jean Paul Gavard Perret

Portraits "speak" rarely. They make noise with their shapes and colors but do not say anything worthwhile. Too many artists forget indeed that only the light thrown on them, creates them. Eva Gyorffy produce it not from  outside but by the induced projection through the electronic screen which gives it its visibility. This is indeed one of the great revolutions of digital art: the light comes not from without but from within. As the works of Hungarian artist . Outgoing faces (and sometimes landscapes) of the punch of nostalgia that subjects always the image to the submission of something of the past under the pretext of getting rid of the most unknown part of themselves, the artist shows the complexity behind each appearance, hide by effects of hybridization and duplication. The image is no longer a reflection: it moves to re-find the real, identifying from several sides the loss, leaving the field open to anything that might happen.

By reviving the figurative and a particular form of "realistic painting" the artist shifts by both hybridization and stylization. The dogmas of the aesthetics of different times and places are mixed but distance themselves through works that look more precisely and with wide eyes as they disturb (all senses). The work requires special attention. Otherwise, the risk is great to miss. The essence of the figuration within the artist's work pushes indeed a door, not in the direction of onirisme but against a "lynchéeene" vision of the things. A representation that opens in a re-presentation: without this drift art is nothing but a decoration.

Creating a bridge between reality and what escapes to her, Eva Gyorffy plunges into a world that is both open and closed. Accordingly, if the representation is law, we are far from realistic. Therein lies the required trap chosen by the artist to confound and confront what it is to be in its relation to reality and his own image. The devil of reality is after us but got caught up in a formal universe in search of the algorithm of the image which takes the being out of his house to a recall and a nifty return. Showing the outside the artist slid into the inside of this intimate place. Therefore, faced with a rise of the power of nostalgia for the moral order, always quick to get out of our memory reserves the censorship machines,  Eva Gyorffy, never orphan on prior art sources, marks a decisive  stage boldly, but without the violent gratuity of an "obscene" evidence . She organizes a more operational strategy. Her approach beyond the provocation or artificial expression, casts a harsh light on places that affirm dualities. Such a set assume a fine sense of aesthetic strategy. And working on the image as mental and psychological construction that aims to produce effects on subjects, Gyorffy Eva shows how the artist can embody on the "raw" digital projection a unique projection power in her spatializations and her manners to occupy the scene. The image effect can not be confined to a pure interiority. And the artist shows how any representation crosses the concept of screen. This is primarily a surface intended to protect something or someone. In this sense it masks, veil to prevent intrusion. But it is equally a surface that allows the projection of images in the broadest sense of the term. The artist shows how the screen at once conceals and enables transparency in the heart of a programmed opacity.
Her work illustrates how the techniques create a subtle dialectic. A screen of one form or another never reveals itself neutral: human perception and consciousness are thereby radically changed. In this sense, taking the old rules, the artist imposes a paradoxical iconography of modernity. Not trying to make something new for the brand new, never being content to exploit imagery on which he could rely, Eva Gyorffy develops a universe as mental and physical of her own. We face an exciting work able to develop our curiosity about everything that we generally fits into the everyday world. Avoiding any symbolic (the convenience of painting) and using strong colors and staggered intermissions, emerges a vagrancy. The works plays on a necessary ambiguity and a shift. She makes the viewer to be both free and magnetized.

Crossing borders the Hungarian artist, ignore the adjectives which describes her entreprise: no matter if realistic or fantastic. She keeps the power to go to what is not seen yet and to distance herself of reflection- images by multiplying overlap, hybridization, unexpected approaches offering  opponent shots to patterns of seeing, to understand the be , the world and their relationship to each other. The creator reaches more complex lines but devoid of any emotion dummy. De-multiplying images enable to see and not to believe to see as they disquiet by probing the dim light which the eye can no longer simply "ask". Gyorffy Eva knows that art does not posesse the world but it can draw it other contours. It separates, dislocates, cares of ideas, feelings, images whatever the apparent singularities may be.


STATEMENT

homo ludens - I started my computer with an exclamation -I thought I'd play a little - then all of a sudden it turns out - nothing is a game in life - the child doesn't play either - everything is deadly serious - it's just us babbling- people on the street - colours - lines - shapes - feelings - old faces - new faces - encounters - memories - mirrors - paintings on the computer - computer paintings - to paint in the computer is a lengthy creative process - to find the most authentic expression of the experience - encounter - remained in the painter -the memory of the encounters - line - circle - geometry - abstract and non-abstract forms - shapes - math - space-filling fantasies - order and mess - however - the portrait is different - the reality of the representation, a gift of the years at college - transforms - into an emotion - into a thought - into a mirror - and the mirror is fragile - pieces of the mirror of my soul - your soul - you, who stares at the eternity staring at the canvas -

homo ludens - one looks in the mirror - looking for a mirror - holds a mirror to the world -bright mirror - blurred mirror - often small pieces of broken mirrors - then he tries to put the pieces together - one is playing - deadly seriously -









Biography

1931 - Born on April 13 in Arad, Romania

1951 - She studied painting at the “Ion Andreescu” University of Fine Arts in Cluj-Napoca, her teachers were Tibor Kádár, Harsia Teodor and Abody Nagy Béla

1959 - First exhibition in Arad

1959 - 1986 - Works as a set designer at the Arad State Theater

1959 - Member of the Romanian Association of Fine Arts. From 1971 to 1985, a board member of the Arad division

1978 - 1983 - Romanian television broadcasts several interviews about the artist.

1985 - Moves to Budapest

1987 - present - Member of the Hungarian Fine Arts Association

1997 – Discover of the artistic potential of the computer. She leaves the traditional studio and works almost exclusively by digital means

1997 - present – Eva Győrffy lives and works in Amsterdam, the Netherlands

2010 - Member of the Dutch NABK.

Solo exhibitions:

1965, 1968, 1970, 1972, 1975, 1978, 1980, 1983, 1985 solo exhibitions (oil paintings and monotypes) in Arad, Romania

1981 - Dordrecht, The Netherlands - Zavrel Gallery - oil paintings

1987 - Gödöllő, Hungary - University of Agricultural Sciences exhibition hall oil paintings

1988 - Bad Homburg, Germany - Im Stadhaus Gallery - oil paintings and monotypes

1988 - Budapest - Kós Károly Exhibition Hall - oil paintings - for the benefit of the “Pál Gönczy” school

1989 - Bad Homburg - Cristuskirche - oil paintings

1991 - Mallorca - Bad Homburg Cristuskirche Club der Begegnung - portraits, oil paintings

1993 - Mallorca - Bad Homburg - Cristuskirche - landscapes, monotypes

1999 - Oostzaan, The Netherlands - Kunst in de Oostzaanse kerk - oil paintings

1999 - Alkmaar, The Netherlands - oil paintings and computer graphics

2000 - Oostzaan, - De Lishof - portraits

2003 - Marken Binnen, The Netherlands - De Kerk - oil paintings and computer graphics

2004 - Utrecht, The Netherlands - Grafisch Lyceum - computer graphics

2005 - Oostzaan - Kunst in Oostzaanse Kerk - computer graphics

2017 - Face - computer paintings, Fuga, Budapest Architecture Center

2018 - Virtual paintings, Delta Gallery Arad

Group exhibitions

1957 - 1987 Arad, Timisoara, Sibiu, Baia Mare, Cluj-Napoca and Bucharest

1973 - Budva Yugoslavia - Exhibition of artists from Arad - oil paintings and monotypes

1974 - Zrenjanin, Yugoslavia - Exhibition of Arad artists - oil paintings

1979 - Szarvas, Hungary - Exhibition of Arad artists - oil paintings

1983 - Békéscsaba, exhibition of Arad artists - oil paintings

1988 - Bari, Italy - International Exhibition - oil painting portraits

2003 - Purmerend - Summer Salon

2004 - Purmerend - Winter Salon

2015 - Art Zaanstad - International Exhibition - Zaandam Netherlands

2016 - Art Zaanstad - International Exhibition - Zaandam Netherlands

2017 - Art Zaanstad - International Exhibition - Zaandam Netherlands

2018 - Art Zaanstad - International Exhibition - Zaandam Netherlands

Éva Győrffy's works can be found in museums in Arad and Timisoara and in private collections in Romania, Hungary, Germany, Belgium, Italy, France, the Netherlands, Sweden, Israel, Canada and the United States.

Books and publications:

1970 - 1987 - illustrations of newspapers in Arad.

1991 - Begegnungen - Gerhardt Blaurock, portrait

2000 - 25 De Lishof - ISBN 90-9013801-3 - portraits

2001 - The Lexicon of Contemporary Hungarian Art, 765.

2012 - Kunstenaarsboek - NABK

2013 - Kunstenaarsboek - NABK

2014 - Kunstenaarsboek - NABK

Virtual awards:

2006 - www.artperiscope.com - The Grand Prix,

2007 - www.artperiscope.com - Second Prize -

2006 - http://moca.virtual.museum - award

2007 - http://moca.virtual.museum - award

Virtual exhibitions:

www.eva-gyorffy.nl

OPENWALL2021

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