“When we cast a web over the world or set milestones in space and time: that is our concern and not the world’s. Probably this subjective existence also has some impact on the world. Our relation is of constant giving and receiving, throughout which we both change.

My interest has structuralist foundations. I was interested in the possibility of signification and materials. More precisely, in the associative field generated by the material when is set loose and becomes autonomous; I augmented it with disparate images, sometimes objects.
I could call this naturalism, but one that is declarative instead of descriptive.

The picture is not about something else: without circumlocution, it declares itself.” – states Gábor Záborszky.

The Ludwig Museum is going to present a retrospective exhibition of this distinguished artist’s life-work, from the beginning to the most recent works, selected with expertise by art historian Péter Fitz who articulates his views on Záborszky’s art as follows:

„Gábor Záborszky’s oeuvre is exceptionally consistent and well-balanced. Image, object, installation, graphic, sculpture, material and form are built on one another with coherent ease. This coherence is far from synonymous with monotony, as his themes and forms constantly, logically and inventively vary, augmenting each other, continuously progressing and reverting. An emerging motif will unfold in a subsequent piece, recurring time and again, enriched or streamlined.

He refrains from extremities; his painterly approach is little affected by the past forty years’ events in the outside world and in the arts, because his conception, his idea of art is rock-solid and consistent. His point of departure is his own self, the outside world having almost no influence on his meditative art, his view and interpretation of the world. In fact, his painting develops gradually like music – his work can best be described through the structure of the fugue: Guida (exposition), Risposta (answer), and Repercussio (development). Treading a narrow path, he continuously navigates on the borderline between aestheticization and visual brutality. His rough natural materials and radiantly beautiful factures are capable of maintaining a peculiar balance. This is the essence of Záborszky’s art.”