On the occasion of Tamás Komoróczky’s (1963) solo exhibition, the artist has woven together a complex mesh of artworks consisting of new compositions or works which have not been exhibited in Hungary.

In the Budapest Gallery’s two-story building, with its iconic architecture, Komoróczky constructed a slowly unfolding motion picture in the form of objects. This may be viewed as a distinctive space of memory, since, true to his most recently completed cycle, the artist guides the viewers to the subconscious, the formal deep psychology of signs and symbols. In the exhibition the three-dimensionally palpable, fictitious deep-drillings and excavations lead the visitors to the past and the future: for the artist is simultaneously concerned with the archaic, primeval, pre-modern cultic markings and the mythical formal and technical notions connected with the future of humankind.

The fundamental experience of these new, unstrained works, which are striving to free themselves from all context, is provided on the upper floor by virtual collages overwritten by an awe-inspiring airbrush technique and on the lower level by sensitive installations built on object-foundations. Of course, those familiar with Komoróczky’s video and neon works will also find compositions to their liking.

Áron Fenyvesi