In the paintings of Dénesh Ghyczy [pronounce: gi:tsi] both light and refraction have previously played a central role.
In recent years he has artistically worked intensively in on a specific and literal breakthrough that is mandatory for every building for purely practical reasons: with the window as an indirect motif connected in terms of content, his series of works shows how relentlessly the light tears the curtain of architecture apart and lets the artificial space merge with its natural surroundings.
Ghyczy’s paintings capture the moment of a specific spatial experience by showing it’s protagonists in prominent architecture and from the perspective of the silent observer. The real actor, however, is the room itself, and in particular the light, which pushes in through the windows and lays on the surfaces like a beautiful but unstoppable expansion in iridescent colors.It is precisely the open spaces of the Bauhaus and the so called nternational Style, whose architects, in turn, were interested in a dissolution of the inside and outside that reappear in the paintings by Ghyczy and whose conception is brought to perfection here.
The people in the images add an open narrative and at the same time serve the viewer as a projection surface – we see them immersed in an action or immersed in the view through the window. Unlike the famous models of this type of pinting from the Romanticism, however, it is not about the experience of nature in the sense of a confrontation and about the fragility of human existence, which is revealed in it.
On the contrary, everything flows together here: Man, his natural and also the environment he created – not in harmony, but as a complex symphony.
