Double Q Gallery is delighted to current 5 Deep Breaths, a solo exhibition of latest works by Budapest-based artist Luca Sára Rózsa. Rózsa’s latest work are sometimes impressed by tales preserved within the collective reminiscence of Judeo-Christian tradition, by means of which she examines questions, widespread to each Japanese and Western philosophy, regarding the function of the person throughout the cycles of the world. Whereas travelling in Asia, she grew to become fascinated by the thought rooted in historical Japanese thought that human existence and the place and function of human beings in society are hyperlinks in an everlasting cycle. In contrast, 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 could be divided into two sorts when it comes to their composition and the figures they depict: the 2 work that open and shut the exhibition, Enter (Go away) and Go away (Enter), characteristic scenes built-in throughout the pure setting which are impressed by the Pietà and depictions of delivery in Christian iconography. Positioned between these two multi-figure work that symbolize 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 grow to be a part of the panorama that surrounds them, right here solitarily, and on different events in bigger teams.
Typically, nevertheless, the sense of spatiality inside Rozsa’s compositions should not created by the road of the horizon: she doesn’t sometimes divide her landscapes into the duality of above and under. The dynamically painted, lush pure setting, 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. Nonetheless, the abstraction of the human physique’s anatomical proportions has an express purpose: the artist herself has said that her photos mirror 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 supplied by evolution, philosophy, the biblical Creation story, posthumanism, and even ecology when inspecting the “starting” and “finish” of the universe and the cycles of the world. Apart from 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 to be historical sculptural findings, making it onerous 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 circulation of the world. Wheatgrass is likely one of the most essential crops 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 latest life within the ecosystem. —Mónika Zsikla