András KIRÁLY has been painting hands for two years: figures pointing on a globe, tearing out book pages, with hands down in their pants or rolling up shirt sleeves appear in his paintings. The thing in common is the tight cutting of the compositions and the dark background that hides the active person, therefore the emphasis is placed on the act itself. Not only play the hands an important role but the title of the paintings and the exhibition as well, that consciously suggest a narrative: a dramatic story, a humorous adventure or symbolic meaning.
I could cry at any time. The title itself has an elegiac intonation, and the exhibited paintings also have a kind of melancholy. The appearing hands emphasize the details and suggest a distance – we have to give up our desire of seeing the vision of the whole. The slowly evolving enigmatic paintings evoke a sacred world, whilst embody a personal mythology, contemplation and with their visual reference point toward a wider narrative. These are personal paintings and since they have been painted today, willingly or unwillingly reflect the events in our milieu or once in a while a collective cultural episode as well.
The alteration of the usage of the paintings’ surface is conscious, whereby Király returns to his paintings of the millennium, namely to the thickly applied, pastose application of paint – thus the artist ‘goes back to the roots’ when he wishes to see and let the paint to be seen. The photo-like but blurred, loose solutions show his old-new experimenting spirit.
His subjects resurge from dark background, referring to classical picturesque prefigurations. The mostly small-sized paintings are strictly arranged, closeups one might as well call them hand-closeups that bear as a permanent layer one of the most important virtues of the artist: the irony.
This is the third solo-show of András KIRÁLY at VILTIN Gallery, this time exhibiting the latest pieces of artist’s hand-series, made in 2016.