As a sequence of How to Pray and a How to Play exhibitions, Viltin Gallery presents András Király's forth solo show at Viltin Gallery entitled On a scale of one, how are you doing? After his installation, chalk-drawing and mural painting, the exhibition presents oil-canvas works and a selection of his daily-made paperworks.
Király András: On a scale of one, how are you doing?
April 17 – May 25, 2019
Viltin Gallery, Budapest
’I had to realize in the last two years that I needed to change – I couldn’t evite facing myself. This is a therapeutic process where we are trying to find who am I, what are my strengths and what should I deal with. One change brings another. The main question in my art is how can I create a timeless visual language and how do I find myself in it. I search the roots of this language in the traditions of painting. As recently – with my figurative paintings – I used baroque painting as starting point, now this is modern art. Here from, I rebuild myself from largely Matisse, after 25 years of imaging behind me.
While I deal with my relationships, and, myself I am rebuilt as the element of society as well. How are you doing? The answer is not simple. If the templet has a rough schedule, I cannot make delicate differences. Everyone’s likewise, it is not interesting how one’s doing. From a distant point of view, every identity is a big stain; from the society’s point of view, it is not important how one’s doing, the important is that their linkage shall be smooth. With the exhibited paintings I try to find the answer to how is it possible to create a simplified and visually compact classical content, so that a new system could come off. I am searching for problems so that I could solve them, in the course of which my game rules help in narrowing the latitude. I try no to skip the boundaries, only just shifting them. The painted forms may called potatoes as in the school at math class. Thereat weren’t the spots the problems but their relation, proportion and location. I am also interested it the happening between the potatoes.
Irony is typical in my works; it is detectable in selecting the topic or title. It is important that the game rules shall be entertaining for me, the artist as well, For counterpointing this, I set up the grid pattern. The grid itself is a system strictly showing the marges of the form and filling. We all have different visual memories of the grid: squared notebook, fugue between the tiles, rendering net, potato sack. My paintings are just like I feel myself in the moment I finish them. I may resemble the artistic process to musical improvisation. I am careful to make the least noise when playing music. On a scale of one, how are you doing? The right answer is: one. ’
András KIRÁLY (1972, Mezőtúr, Hungary) holds a mechanical engineer degree and a master engineer degree and studied visual arts at Ferenczy István Visual Workshop. He has participated at numerous collective and solo shows in Hungary and abroad and is a member of the Studio of Young Artists Association (FKSE) and the Hungarian Artists’ Association (MAOE). He is the winner of the Esterházy Art Award (2012), the Gyula Derkovits Scholarship (2007), STRABAG Painting Prize (2001) and Klára Herczeg Award (2000). The artist lives and works in Budapest.
Photo: Biró Dávid. Courtesy of the artist and VILTIN Gallery.