Ars Poetica

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Art is a wonderful adventure. Mathematics creates new worlds with its exactitude, while contemporary fine art accomplishes the same with its unlimited scope of ideas and realization, with a sort of ‘anything is possible’ attitude. While implementing my concepts, I attempted to make use of the possibilities and fantastic tool kit of nowadays fine art to the farthest possible extent. My works, displayed on the pages of this website are diverse however, they are common in one single aspect: I always perceived myself as a kind of ‘thermometer’, someone who feels the high temperature, the feverish state of everyday life, but who also notes the recovery and the healthy functioning of the society and individuals. This is all I can do, me, the creator of pictures. Dear Visitor, I appreciate your patience and interest. Contact: info@rumplergyorgy.com

A few thoughts about myself

 I was born in Budapest, 1969. I have been painting and making objects for twenty five years now. I have worked in the Gyula Art Colony for three years. I learned under Ernő Fisher’s mentorship in Budapest. It had been years to attend the gallery halls of the University of Fine Arts and my fellow artists, having worked there. Nonetheless, I consider myself a self-made artist. From the onset of my career I confess: fine art can be thought to anyone, but it is really a creative skill and process that must be inherent in you.

 Since 1988 my paintings have been on display in numerous exhibitions, including the Gyula Cultural Centre, the Headquarters of Hungarian Culture Foundation, the galleries of Cultural Centre of Pesterzsébet, the Art Budapest International Fair, the O10’ Gallery, the Dob Gallery.

 A few thoughts about my works

 Abstract expressionism is the pivotal point of my non-figurative paintings. In the creative process I frequently apply the ‘action’ painting method. In other instances I consciously “build” the scene, like in the pieces of   the ‘Totem People’ collection. My ‘Chaos Pictures’ intend to reflect the entropic phenomena of everyday life, the vulnerability of our world and the abundance of information flooding on us. I applied the techniques of scraping with a decorator knife and surface rubbing. These paintings offer one single form to create order: circles of different color and thickness. They symbolize absolutism on one hand (they always circle back into themselves, thus they are complete and perfect), but can also be perceived as supernatural allegories.

 Through the pieces of ‘Totem People’ and ‘Hands and Eyes’, the flesh and blood man is degraded to an exhibition object, a kind of weird space experience. The blown apart bodies, people patched together from pieces of flesh and bone, but still very much vivid. They reflect our own lives, with all the sorrow and pain, the way we stretch far beyond our limits. The cheetah can speed up to 110  kilometers per hour in the short run, though it would certainly perish, if it had to run faster than that while hunting. The ‘Totem People’ have long exceeded the limits of their own capacities. They exist beyond reality and imagination.

I have prepared the series of ‘Monuments of everyday life’ between 1 January and 30 March of year 2000. At the end of each day I tried to summarize my experiences, feelings and state of mind of that day in one single collage. When preparing the series, I had no opportunity to do ‘corrections’ or rework afterwards, thus the pieces of the series remained unfinished but still complete. Any kind of ex post correction would change the essence of the original concept: make one painting per day, registering the state of mind, the feelings and facts of the day. I tried to create a sort of ‘quick response’ illustration language, whose substance can be squeezed in one single sentence: my senses were the filters the picture was my mother tongue. To put it in another way: see and perceive. I never had any other objective since nothing can be more exciting than to explore the world.

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