Orshi
Drozdik Orsolya: Lipstickpaintings Ala Fontana (2002-2006)
On the paintings series of Orshi Drozdik Orsolya, titled Lipstickpaintings
Ala Fontana, the punctured holes are wounds of the stretched canvases.
Rubbed red lipstick covers the abrasion of painting-body. The holes on the skin
of the paintings mark the force of penetration.
On Lucio Fontana monochrome paintings series titled Spatial Concept
(concetto spatiale) the punctures force of the gesture towards the viewer in a
way that is at once energetic and threatening. In his buchi (holes) cycle he
punctured the surface of his canvases, breaking the membrane of
two-dimensionality in order to highlight the space behind the picture. The
wounds of the surface open into the third dimension of the painting.
Drozdik places her own concept into his conceptual third dimension, that is
fundamentally different of Fontana’s cut (tagli) and puncture (buchi)
interpretation. In this process, the punctured holes penetrating the
paintings-body, Drozdik disclose a concealed meaning. The painting itself turns
into a female body, into a cosmetic-body, on which lipstick covers the injury.
The spatial concept opens into the locus of representation of women.
In Drozdik’s psychoanalytic and deconstructive critical feminist
interpretation, the punctures (or buchi) on Fontana’s paintings are marks of
penetration, wounds, and the slashes; cuts (or tagli) are vaginas. Fontana’s
punctured and slashed painting’s style transforms into Drozdik’s artistic
statement. Thus become the locus of Drozdik’s concept; ensuing the series of Lipstickpaintings,
the critical interpretation of Lucio Fontana’s Spatial Concept.
Paintings of Ákos Bánki
Since September 2005, Orshi Drozdik Orsolya is professor at the Departments of
Paintings of Hungarian Fine Art University. Drozdik had decided to help to
establish her student, Ákos Bánki, therefore she exhibits with his paintings.
The young painter’s (earlier student of Molnár Sándor) gesture paintings
are built on the abstract expressionist style, used by the late modernism, even
though; he refers to the passionate gestures of baroque paintings. Ákos Bánki’s
paintings governed by intuitive gestures and at the same time intentionally
using the accidental. With his deliberately applied spatial concept,
using lack, as part of his painting.
His paintings are created on the retinas of starched canvas, and fixing the
actions of the brush-moving body, as if the most important element of these
paintings would be the body itself, those increasingly repeating movements.
Bánki also using the medium of performances, for the reason of the presence of
performing body-dynamic,
At the firs site he repeats the elements of late modernist style, the
supporting theory and philosophy, but the paintings are not the product of the
influence of late/high modernism, rather a postmodern reconceptualization.
Mindfully analyzing the paintings, we’ll discover that the consciously used
accidental, are result of the artist's deliberate conceptual conduct, has b
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