Double Q Gallery is delighted to current 5 Deep Breaths, a solo exhibition of recent works by Budapest-based artist Luca Sára Rózsa. Rózsa’s current work are sometimes impressed by tales preserved within the collective reminiscence of Judeo-Christian tradition, by which she examines questions, frequent to each Jap and Western philosophy, in regards to the position of the person throughout the cycles of the world. Whereas travelling in Asia, she turned fascinated by the concept rooted in historical Jap thought that human existence and the place and position of human beings in society are hyperlinks in an everlasting cycle. Against this, particular person existence in Western tradition is decided by self-centredness, and an individual’s life and actions are ruled by the search for self-fulfilment.
Rózsa’s newest work will be divided into two varieties by way of their composition and the figures they depict: the 2 work that open and shut the exhibition, Enter (Go away) and Go away (Enter), function scenes built-in throughout the pure surroundings which are impressed by the Pietà and depictions of delivery in Christian iconography. Positioned between these two multi-figure work that signify the start and finish of life are 5 compositions depicting particular person figures, likewise in pure settings, engaged in enigmatic actions – hanging from a tall tree (Discover Your House), fleeing with a white flag (Runner [Wind Blown Eyes]), stranded in a swamp (Stillness of the Forest), or sitting in contemplation on the sting of a cliff (The One with a Tan Turning Away From Infinity). The customarily-monumental figures turn into a part of the panorama that surrounds them, right here solitarily, and on different events in bigger teams.
Usually, nevertheless, the sense of spatiality inside Rozsa’s compositions will not be created by the road of the horizon: she doesn’t sometimes divide her landscapes into the duality of above and beneath. The dynamically painted, lush pure surroundings, and the flesh-toned, androgynous figures inside it are rendered in dense, overlapping brushstrokes. This engenders a way of timelessness, whereas the faith, race, and private traits of the depicted figures are likewise indeterminate. Nevertheless, the abstraction of the human physique’s anatomical proportions has an express purpose: the artist herself has acknowledged that her photographs replicate on philosophical, metaphysical, and existential questions which are, in themselves, summary. The smallest portray, Self-portrait with Golden Glow, is an exception among the many single-figure compositions. Right here, the artist has painted herself in infinite area and time, bathed in an otherworldly gentle.
Timelessness does, nevertheless, enable the artist to fall again on the responses offered by evolution, philosophy, the biblical Creation story, posthumanism, and even ecology when analyzing the “starting” and “finish” of the universe and the cycles of the world. Moreover work, the exhibition incorporates a second group of works – an set up of ceramic sculptures mounted on pedestals, You Begin The place I Finish. The fragments appear like historical sculptural findings, making it arduous to resolve whether or not they’re items from a set of relics left behind by a misplaced human civilisation, or specimens on the workbench of some posthuman geologist, containing traces and vestiges of the loss of life and disappearance of humanity. The wheatgrass rising from inside them symbolises the recurring cycle of delivery and loss of life within the everlasting stream of the world. Wheatgrass is without doubt one of the most essential vegetation in Christian tradition: it sprouts from a seed, vibrant with new life, and grows into a young shoot. It then withers from inexperienced profusion, after which its residue enrich the soil that feeds the beginnings of recent life within the ecosystem. —Mónika Zsikla
