Kopin Katalin: Idővonal. Szentendrei Képtár, 2013. június 13 - augusztus 31. - MűvészetMalom kiadványai 6. (Szentendre, 2014)
Empirical time can be perceived in reality, through experience. Observing nature is the best way to feel the passing of time. The landscape outside man’s subjective boundaries, whether it is a cultivated field or intact nature, is a true reflection of the cycle, eternal change and infinite time spiral which make up the essence of existence. The photo series ’CULTURA’ by Mária Pecsics records the change, the metamorphosis of the character of agricultural landscape. ’The strictness of compositions, the selection of hovering viewpoint, the deprivation of the illustrated landscape of all decorations, locating of the horizon, the size and proportion of the photographs evoke the feeling in the spectators as if they were viewing the ’passing’ landscape through the windows of a moving train’, explains the artist. The landscape, which has become an abstract network of lines, a rustic texture is represented as a detail cut out from the linear structure of time. The parts of the series represent different time frames, but the sequence of still images makes continuity and shift in time perceptible. The landscapes of ’CULTURA’ illustrate progressive processes and phenomena in time, summarising the cycle of nature with its result and impression. Here, progress in time is not merely horizontal, as the vertical movement of plants changes the landscape day by day. The decaying, reviving and ever-renewing spectacle of an ever-changing coast, the floodplain is the scene of the photo series by Eszter Kocsis. The unpredicta bly winding, muddy bay baris impregnated with symbolic content in her photos, representing human paths of life and changes of fortune. Due to their scale and silhouette-like visualisation, human beings become mere supporting characters in the photos. The real organising force is the interfluent shape of the coast and the water surface. The structure of the photo ’Lost Threads’ by Sári Révai is composed by organic floral stems of calligraphic pattern, expressing that a linear line is not the only way to model our relation to time. The jumbled vegetation thickened into focuses and doubled owing to the reflection refers to the parallelism of time frames. In her photo entitled ’Slow Vision’, the reflection of the veined, rough bank and the broken tree evokes disappearing, blurred memories and our relation to the past. ш т ш
