289 The title Gábor Városi uses to describe his latest period as a painter does not refer to some kind of artistic retro. Not some kind of remake of the ‘50s. It is true that the credo, communicated in his particularly large, new paintings, is akin to that of the American Abstract Expressionists, but Gábor takes the pictorial revolution fought seventy years ago even further. Therefore, we should not think that it is a question of making up something – out of envy – that others have already invented, or even – “horribile dictu” – presenting it as his own. Abstraction as an artistic intention, as laymen would put it, might just be a disguise for the lack of ability to represent the world as seen. But this is about something entirely different! Especially if the abstraction is also expressive. So, it has nothing to do with the visible world, but everything to do with the representation of the inner worlds not visible to the eye! The plural is not accidental. Because it is not only the creator’s inner world, but also the inner world of the viewer that is revealed by the artist’s hand. Well, here the situation becomes more complicated, because the creator of the picture also objectifies his belief that freedom belongs to everyone. For both the artist and the audience. Freedom? How so? If anyone, Városi indeed knows what freedom is, and that others have the right to attain it. As a painter, he creates the experience, but he does not want to tell the viewer what to see in the picture. With the experience, he packs freedom too. Abstract Expressionism New Pictures
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