Márton
Gresa

Painter

About

Illuminated light surfaces as the synonyms of the screen, the central logo of the consummate society where the dominance of attention and its scale shape our social life and cultural values ​​at a radical pace. This is followed by duplicates and effigies that exponentially overwrite themselves and melt into the scenery of everyday life. In this picture, the free flow of information and its unlimited usability basically alter the work of the artpiece and its originality. In this unimaginative uncertain dimension, life is constantly blended with fiction. Thus, all types of documentation raise the question that where is the illusion, where is it true and where is it played.

Reflecting on all of these, I use painting as the instrument of study, and with traditional realistic values ​​and digital imaging tools I worked out new ritual and strategy.

Thus, in the present, the expression "new objectuality" known from realism, in this case, tries to understand the heterogeneity of a dematerialized world of our time between reality and unrealism. And although painting tendencies seem to be in the background, the painting as an ,,image” is a kind of idol, the most important idea of ​​the current mass culture.

Ever since most of the people in society expect to be "screened", people have an ineluctable desire to construct an electronic copy of their lives. The screen works here as a window that, besides passive presence, requires only passive viewing and "attention", so it seem as a curtain or veil in front of the window.

  • Technical break No 1.

    Oil on canvas. 125x95 cm. 2017

  • Look at my hand

    Oil on canvas. 170x130 cm. 2016

  • Plastic Lovers

    Oil on canvas. 170x140 cm. 2016 

  • Multiplayer

    Ink on paper. 40x31 cm. 2017

  • Playground / GTA No 2

    Ink on paper. 40x31 cm. 2017

  • Singleplayer

    Ink on paper. 40x31 cm. 2017