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Meet the Members
Attila Farkas
ildiko61@hotmail.com
Artist’s Statement
Background: My art training was shaped by both realism and abstraction. In the late 60s and early 70s, realism was not the style of the times. Although I took a lot of figure drawing, painting classes favored a more conceptual approach. Abstraction was encouraged for anyone serious about the arts. “Fine Art” was abstracted based. Harold Rosenberg and Clement Greenberg ruled the day.
I worked abstractly for a while but could not seem to separate myself from visual perception of the world around me. But I definitely was influenced by abstraction. I responded to it as a method of visually analyzing all visual structures. It helped me to see formal relationships and pictorial composition, including space. Maintaining the integrity of the picture plane was something that I definitely accepted and, to this day, still influences my work.
Present Directions: Even though abstraction opened some “mental doors” for me about how to put a picture together, I stopped working abstractly in graduate school. I guess that I found that the three dimensional world was more interesting than the flatness of the picture plane. I needed some visual stimulation outside of myself. I also think that I wanted my art to reference something other than an abstraction. I found myself moving away from flat space into an illusionistic space. I didn’t realize it then, but I was moving toward a belief that I have no which is that art is magical. Not in the entertaining way, necessarily, but in the mystery. And illusionistic space, for me, is magical. Of course, the space is only one of many aspects of a painting. The total form of the work is the content. I’m not sure, but I think that that statement is also a product of 20th century abstractionism.
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