Art theory

text of catalogue / 1999

I am scared about art theory. Sometimes I think art history is a never-ending avalanche of words and writing, and try to formulate, what can not be formulate, instead of simply telling the story of art, as its name determines. I don't know, what induced me to look for different methods, than I have learnt in the school. Maybe I was dissatisfied with the school, although I don't remember so. I like repetitive patterns, and there are no question: why? Or if there is, that would be a case for my analytic, if I would have one. Making patterns sooner or later drives one to the mathematics. First mathematics look like an obedient made, but going deeper it shows its own, stubborn, selfish nature. First it looks a couple of usable methods, but after a certain time it becomes the face of the world. I don't know it is really a face of the world, or it only looks, because it is the only science busy with only human ideas.

The first sacrifice for it (excerpt the pencils and the many exercise books) was a pocket calculator and ten dices. And then computers came and many programming. I knew the habits of a strange world, I learnt its language, I wear its costumes, eat its foods. But I did not become a Chinese, as Marco Polo did not. My China was different from Marco Polo's China: it was overflew by tourists. Maybe I feel it, because I wrote my first serious program, before touching a mouse. This happened five years ago. Anyway, I don't feel myself as an alpinist, who reaches the peak, and the first things he see is a ski-lift and a fastfood-restaurant on the other side.

This artworks are very closed to computers. For me computers are not tools or media, but a 'natural' universe of my ideas, embodied mathematics.

By my intention the works shows to the spectators what I called the face of the world before. They represent implacable properties of the reality without dramatic accents. These properties can be described well by mathematics. Mathematics are not interested the meaning of its own rules. (This statement is limited.) The visualized mathematics forces the spectators to the interpretation, and this is not a feeling, it is a psychological fact. So, the interpretation can float between mathematics and aesthetics. Both discipline are esoteric on their own way, so they show a mirror for human, and if it is true, then it is right. After making a work, it is out of my hands, it starts its own life, so my connection with them is unimportant for the spectators.

1999. június 28.