Mazányi Judit (szerk.): Fény-Kép. Nagy Barbara - PMMI - Ferenczy Múzeum kiadványai 35. (Szentendre, 2012)
The engraved wood panels engage the philosophical and concretely physical role of light, as well as its transformations. As a result of the depth and direction of the engraving as well as the color of the surface, which has been painted a monochrome black, we can observe the "wanderings" of light. The color black - which, under other circumstances absorbs light - as a consequence of the structure of the engraving and the moderate glistening of the paint, renders light visible instead of absorbing it. The side lighting and changes in the viewer’s position convey varying conditions of light associated with the images. In the image-pair Light-Image I and II, which also deal with how light is held and captured, I attempt to record/engrave the momentary light condition of the "first” panel on the next one. The engraved wood panel is not a woodblock that will be used for printing. Thus it is not present in the context of graphics but as a panel painting. I need to work with this material because of the resistance of the wood, as well as the depth and force of the engraving. The chisel marks embody the brush strokes in - what is, to me-a more radical manner. The wood grain and naturally present knots in the wood help determine the composition. The depth of the engraving and the direction of the chisel marks call forth various qualities of light, through them, I achieve a high degree of consciously directed expressivity. It’s important for the image to possess equilibrium - a certain rhythm- within it, and that the various layers somehow connect. Just as in a musical composition. What I am interested in is the existence of art, the boundary that separates mere objects from works of art. This is why I work with various genres. The wood panels represent the interface where relief, woodcut and panel painting meet. As they pass before the paintings, I would like the viewers to find their own version, their own preferred position by themselves over and over again, thus extending the space of the artworks into the dimension of time as well. This is similar to what happens when we, upon rereading a book, find new interpretations of it through time. Just as the eyes explore the various aspects of the image, so do the works reveal ’’version" of their own possibilities for existence in different qualities of tight. The image is not a closed entity. It continuously changes as viewers shift their positions, through modifications in their thinking and emotions, evernewer layers may be added to it, or, alternatively, notions about the work may become clearer. What we couldn’t see before becomes visible/interpretable the next moment. It uncovers its own nature and becomes exposed. It reveals itself. Barbara Nagy
