What we call reality, together with what we do not see, becomes visible together through art.
With my gesture abstractions, I depict reality and the invisible, what we cannot see with the eye, cannot describe with words that is infinity, the unfathomable, the unknown, Heaven, Hell, Gods and Devils.
With my paintings I illustrate the “void”, the unknown, which evokes in us fear, hope and craving.
I illustrate the unknown, which is yet reality itself, which is the highest level manifestation of the superior.
As an abstract expressionist, I express myself through the direct and instinctive act of painting. I listen to the emotions drawn forth from the depths of the subconscious, my painting is based on gestures, if need be, I let the paint flow freely, let it splash, I use the energy of colours and the spiritual and material nature thereof.
At my gestures I sometimes allow the depiction of force nods, hallways and bundles.
I refuse abstract formalism, I strive to present sensuality on the inspiration of the subconscious with intuitions arising from the depths, I accept the subconscious desires, the incalculable, the unpredictable, and the irrational that is so obvious.
As a witness of this day and age, I envision the feelings and vital power of man thrown into existence, everything that is love, romance, passion, goodness and fear, evilness, hatred and envy.
In my meditative abstract works I strive to present an opportunity to understand the secrets of the Universe, and to draw people’s attention to the threat of the future, that of nothingness in this ever-growing high-tech madness.
In my oeuvre, besides other powerful influences, the works of Gerhard Richter, Jackson Pollock, Williem de Koonig, Clyfford Still, and Zao Wou-ki bear the greatest importance.
The maker is an instrument, and his work is an instrument, too. We do not know, what was the beginning, and what will be the terminus – if there is a terminus at all. It is easier to accuse that existence is the routine of life, the product of physical verdicts and transmitted regularities. We suppose that the accomplishment of human intellect is knowledge already. We suppose that experience will protect and provide us with arms.
We believe that we know feelings. I do not know when and how, but my paintings have dragged me through these definitions. It may have been the experience I have been through, the meditations, the messages sent to me and to others. A world yet unknown has opened up for me, in which there was what we call reality, and also what we can only foresee, chase, conjure but can not take a hold of. For the sake of simplicity, let us call it meaning beyond content.
I am an instrument and my works are instruments, too. Yet, I have instruments of my own, too. I have tried several techniques, but chose oil in the end – and a method devised by myself.
Attila János Könnyű
Paintings, which are,,, visual projections of the emotional energy manifestations which are perceptible to us, and the mutual interactions thereof inherent in the different micro-cosmoses within the macro-cosmos. I see the act of creating these canvases as being almost like a key - a key that we extend and those who take them up and use them to open a door to a world that is not about the work itself or the artist. At that stage it becomes a personal journey of the spectator who is willing to accept the key the artist extends. My goal as an artist is to reach people and help them in their journey of self acceptance giving them power and space.