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The world has got a two-faced character

written by Gábor Szabó
translated by Melinda Dobsa 2013-06-06


The world has got a two-faced character


For the exhibition of Maya Bott  and  Emőke Szamaránszky


The world has got a two-faced character


It has got its obvious face. The one that can be sensed and seen. We can identify it with all of our sensory organs. We can call it in many ways: the outside world, the res extensa, the external, the macro cosmos, the posteriori. In this world we live in, it is where the existence comes true. This is the world of Emőke Szamaránszky.


And it has got its unseen face; the unseen, the one that we are unable to sense. It can be perceived, but only through wit. It can be called the inner world, the res cogitans, the internal, the micro cosmos, the priori. From this world does the existence feed itself, it is the place where we return, when we die. It is the world of Maya Bott. 


The obvious and the unseen are the two faces of the whole. Like the possibility in the seed, then the germ, the shoot up as a stem and the finalization of the yield. 


In the joint exhibition of Maya Bott and Emőke Szamaránszky we can perceive the multiple dynamics of this two-faced world. While Maya Bott′s searching works are aiming from this intimate, inner standpoint towards the outer, brighter world, Emőke Szamaránszky is looking for the inner center through the mapping of the outer world. This is most visible by opposing the cycle of Reflections (Szamaránszky) and the Landscape-Code (Bott).


Szamaránszky turns submissively to the optical phenomenon of reflections that appears on the surface of the water. In this case the light is the one that moulds the shapes (Leonardo). It is the light that makes the material alive along the borderlines. 

It is in the mystery of this light that the two elements, the air and the water, join together and obey to the rules of change. Every single painting of hers is different, hence the same. 


The landscapes of Bott are inner landscapes. They are stylized worlds through the simplicity of gestures. It is the principle of "don′t speak, only nod". The calligraphical brushstrokes contrasted against the bright background remind us of some kind of forgotten language that we probably all understand, but in the absence of the decoder we stand in front of the canvas without comprehension. Almost all of her paintings are the same, hence different. 

While Szamaránszky completely and literally immerses herself in the material world (the Stages cycles or the Basalt ring) in order to reveal the forces that work between the ground and herself, Bott cheekily reaches into the metaphysics of the world, looking for the reasons of its change in a laconic way (Time circle). 


The balance of the exhibition is so damn apparent. The shared workshop in Gabčíkovo is trying for the visual completeness of this newly found world. But, is it possible? Is the art able to imitate the illusion of the world by using the language of the realization? Or achieving reality through negating the negation? The Szamaránszky –Bott duet shares with us the possibilities of the eternal magic of art. In small details they are showing us both the inner and outer side of this duality of the world. It is done in a way that the onlooker-receiver would not freak out, but rather marvels at how big the Order is, that preserves this. 


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