Series
On the paintings I depict a composition set in a dream-like situation which elements are motifs that I strip of their previous meaning and place them in a new context in an attempt to add in my own experience. I try to create a relationship between the elements that we don’t usually experience, so that new questions arise between the motifs along the way of creating unusual relationships between the motifs. I was able to observe this method in more detail during my studies in Naples, where I became acquainted with the work of the Italian transavanguardia painters of the 1980s. Going through this process of re-interpretation of the motifs makes the interpretation of the painting versatile, giving it multiple variations, which I think is important for the viewer because it allows us to develop a more personal relationship with the image.
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Strato-Stasis
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Anima
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Facial Fields
Aquarelle
Napoli
Strato-Stasis
I have always been interested in observing and making conclusions of my environment, which I seek to express visually through either a non-figurative or a more realistic way of painting. On my works, I show moments by previously observing patterns of people's behaviour through the representation of full-figure settings and facial expressions. I place these motifs on the painting in a structure that results in unusual situations, highlighting the ambiguity and nuance of everyday life. In doing so, I aim to create moods and psychologizing compositions that draw on both the traditional meaning of a motif and my own vision. In addition to visualizing this, I associate the emotional narrative of the image with abstract splashes of colour that also define the dream-like space of the painting.
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Anima
The central theme of the Anima series is the motif of the face, the facial mimics. I compose the models in the paintings based on my memories and impressions, creating a representation for these memories. These faces can be observed not only by their visual presence alone, but in the process of creation I also strive to capture the momentary state of mind associated with the impressions. I try to depict these momentary glances as sensitively as possible. However, to effectively represent these states of mind, I do not use the portrait exclusively, but incorporate cell-like abstract motifs in an organically formed structure.
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Facial Fields
The series Facial Fields includes works which are connected by similar motifs and from these seven are directly related to my diploma thesis. On the works of this series are motifs, which by detaching the details of the facial parts I create compositions on surfaces that have a visual softness from meticulously rubbed or abundantly flooded paint. The newly arranged motifs are given new meanings. I use and relate five elements of perception that are fundamental to everyday life - visuality through the eye, taste and touch through the mouth and tongue, smell through the nose and hearing through the ear. Deprived of all previous means of recognition, the interpretative medium of motifs is supplemented beyond their recognisability by their place in the given situation on the canvas, since the senses become the object of each other. In this juxtaposition, I want to draw a parallel with consciousness, with the self-examination and reassessment that is so important for contemporary life.
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Aquarelle
In the case of watercolour works, I often create paintings after a process of introspection. This technique easily allows room for rapid experimentation and the addition of all of the translucent layers allows me to transform a colour-study into a stand-alone work. The watercolours tend to reflect more sensitively the psychological processes that I am primarily trying to portray, and also blend with the moods and states of mind that are going on within me during the process of creation. Therefore, when I look at the finished work, I can see how the final appearance of the view has changed, how it has been linked to additional reports during the process and what I would like to validate in the next creative phase.
Napoli
The pieces in the series were produced in 2019 during a Scholarship programme in Naples. It was then that I became more interested in observing patterns of human behaviour, as the experiences I had during the semester and the impact of my environment were new to me. It motivated me to explore more about the situation of Italian artists and people in Naples, their nature and its evolution. At the time, I was very impressed by the work of the transavanguardia painters, of whom the portraits of Francesco Clemente in particular caught my attention. For me, the role of the figures in the paintings is to depict the most significant moment that I think is related to the model. I chose the figures depicted and the artists and students I met there, whose characters remained in my memory and thus visually evoked them. In order to depict my impression of them in more detail, I used various abstract elements to break up the space of the picture and interweave the figures' shapes.
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2024
2023
2022
2021
2020
2019
Exhibitions
Chtulucene – 2024
2024. 05.02 - 2024.05. 24 | Hungarian Workshop Gallery, Budapest
Exhibiting artists: Oskari Andersson (FI), István Antal (AT/HU), Anna Doppler (AT), Peter Fritzenwallner (AT), Judit Ágnes Gallai (HU), Annamária Gáspár (HU), Lassi Kontiainen (FI), Kaisla Kyyhkynen (FI), Elias Langi (FI), Marko Markovic (AT), Daniel Palpa (FI), Tanya Shtykalo (AT/UK), Céline Struger (AT), Viktória Szabolcsi (HU), KristofLab (HU), Patrick Topitschnig (AT), Reinhold Zisser (AT)
Picture On The Eyelid – 2023
2023. 11. 14 - 2023. 12. 05 | D85 - Direction 85 - Artist-run Space & KristofLab, Budapest
The facial details in the paintings are mixed with various abstract
shapes, creating a kind of dream-like space for the figures to twist and
turn. The exhibition space invites us to explore our inner self. Events
experienced in a dream also focus on a kind of self-understanding, and
Szabolcsi's art operates with similar dream-like images. They evoke a
meditative state, and the abstract shapes float into the picture like
amoebas, similar to when we contemplate ourselves and see the crawling,
patchy forms on the surface of our eyes.
"The central theme of my work is the motif of the face, its
reinterpretation through various painterly means, such as highlighting
details or magnification. In this way, the motifs, endowed with a
specific meaning, are placed in a different context on the canvas. My
aim is to capture the inner, spiritual manifestations of the individual.
Thus, besides the traditional possibilities of interpretation, the
presence of the face becomes versatile as a mood/emotional suggestion.
The instantaneousness of the bodies cascading carelessly over the watery
paint is at once precisely defined and uncertain, like the recollection
of a long train of thought, or the observation of a phantom image on a
closing eyelid. These memories, which are tied to the stimuli of our
material environment, only become a permanent factor in our psyche by
the association of specific signs, whether conceptual or emotional.
Their reappearance, if not the result of a purposeful search in our
memory, is as fleeting as a clothesline stirred by the wind or a tousled
mass of hair. Just as the full-length figures float onto the surface of
the picture, pulled by indeterminate physical rules, under the influence
of a particular state of mind. I have sought to delineate the virtually
intangible emotions visible in their movements, so that they can be
observed throughout the painting, as they can be analysed by ear in our
everyday lives, a psychologising mood."
Duo – 2023
2023. 02. 07 - 2023. 02. 24 | ART9 Galéria, Budapest
Exhibiting artists: Szabolcsi Vikória, Rohrböck Dániel