148 There is no doubt that the image that is born at the moment of the click is capable of doing something that makes the invisible visible, according to the paradigm of classical photography. There is also no doubt that Gábor Városi is able to successfully go beyond the level of reporting on the things of the visible world even with his traditional photographs. But as a man who instinctively stretches the boundaries in all his endeavours – and greatly exceeds them most of the time – he is not satisfied with the leeway available within the confines of photography as a medium. He assigns his own artistic tools used as a painter to the portraits he photographs. He paints, scratches, physically damages, colours and glazes the unusually enlarged portraits. By this he recreates, in a unique and unrepeatable way, what he has previously created with the camera. And also resolves the problem of the contradiction between the individual image as an art object and the replicated copy. It’s true that photography also uses chemical aids with a similar purpose, to transform the image into a unique work of art, which further conceives the impression of the moment discovered in the viewfinder and created with the click. Even the digital image manipulation used by Városi is not Soul Paintings All that is beyond the moment
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