Zsuzsi Csiszér: Patrick sees the bubbles drift October 18, 2006 - November 26, 2006


Although the bubble isn’t a part of the painting- being only present here around us -it is one of the most important elements of the exhibition. The faces appearing on the canvases are all viewed blowing bubbles but only Patrik, the imaginary boy whose name surfaces in the title, sees them, allowing us all to imagine ourselves in his place. Csiszér, just as she had done with her previous works, once more uses the help of the camera as the most suitable tool in order to capture the moment. Yet, being a painter, she uses a brush rather than a machine to capture her figures on canvas, applying the traditional method of oil painting. Csiszér paints the two-dimensional representation of reality in the form of her personal photographs, which results in a multiple transmission of images and a „secondary mimicry”. This method, in which the artist „copies the run-inned forms of reality such as painting, photography, and film,” is called ready-made realism by Boris Groys. At first glance Csiszér also generates pictures in such a way that she repeats/copies the process of technical reproduction. However her aim is not to beguile the audience, to create the illusion of a photograph with her paintings; the naturalist style of painting is merely a tool for her.
Csiszér Zsuzsi through these „bubbles” focuses this time indirectly on the moment, the passage of time, and on transient beauty. If you like, we are speaking of realistic allegories, as the primary pictures that we see are the portraits and plants themselves, but there is something also that lies behind all this, and it is Patrik, being able to see it, who helps us.
The plant studies which accompany the portraits also doccument the passage of time, the phase of the process when in spring the trees start to bloom. Moments that we usually miss because we are not paying attention to the change and the beauty that surrounds us.
And if we have already mentioned realistic allegory, let us take a little detour all the way to the end of the 19th century. As even one of the first realistic paintings, Courbet’s The artist’s studio is actually an allegory, its subtitle being : The allergory amalgating my seven years of artistic life.
And what further justifies the mentioning of Courbet’s painting is that in 1885 even he draws his motifs from photography, as his female form was inspired by a photograph of a female nude. This momentum contradicts Paul Delaroche’s often-cited statement he made when the camera was invented, according to which „From today onwards painting has died!”
Painting of course isn’t dead, in fact, the mutual influence of painting and photography can be felt to this very day, it is enough if we look around here, in the room.
To this mutual influence the most adequate examples can be found in the circles of realist painting; whether that is fotorealism, hyperrealism, materialist realism, or comparative realism.
In conclusion I can only give one piece of advice; like Patrik we should behold the beauty that surrounds us, the bubble that is anytime about to burst, let us pay attention to the moment!

Erika Fekete-Horváth


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