Duliskovich playfulness, his search for the right path can be tracked well in the plastics series for the sake which he moves from panel painting from time to time or expands its borders with glass paintings, books and box works and pays meticulous attention for their installation. The exhibition's gesture is the last one, but in any case is is a unique opportunity to change the scope of interpretation of the works of art.

Instruments of illusion, such as the trompe - l'oeil procedures have not played a particular role in Duliskovich's art. However, in the case of video installation deep control is needed for attention directed at the receiving positions, material composed for fixed points of view virtual - visual material will be responsible for the trickery mechanism.

Video installations unfolding in the dark, roam around the notion of prosperity treated as metaphysical mystery with enigmatic layered. The frequently visited location in Kisújbánya or beloved figures of social life but, even his alter ego training is lifted in Duliskovich's works so that they swing over to the horizon of commonness.

The only painting at the exhibition, the Allegory of Painting and the figures of Art Lover < / em >locked melt away from profane contents. With their faceless nudity, in abstract or anachronistic environment balancing on the verge of physical and ethereal beauty, vulnerability and self-revelation. In both cases, the phenomenon of art - an elusive , transcendent phenomenon - motivate and color female nudity. In terms of the perception of nudes, art history is canonical and even its contemporary pre-images may also influence the recipient. So the title of the painting refer s to Johannes Vermeers work of the same title while the video installation is a kind of enigmatic Escher-like interaction, a reminder of a mirror through linking the nudes in different temporal situation. Photos he recorded in the studio enter into dialogue with different nude fragments from the the history of art.