2. INTERIOR
I D E N T I T Y
C O L O R S E L F - E X P R E S S I O N
COMMUNITY
ENERGY
H A R M O N Y
D I A L O G U E
S Y S T E M
C H A N G E
L I G H T
S PA C E O F S O U L
SHADOW
2 0 1 4 W I N T E R
TÉR-KÉP2 0 1 4 W I N T E R
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Introduction / TÉR-kép
Space or image? These are not definite concepts. An image in
space. Space forming an image. An image with spatial dimensions.
An image using its own dimensions shaping space. An image in space
that shows directions, specifies and signifies certain coordinates in
space, highlights points and forms a map.
“TÉR-kép” is saying a firm no to artworks created on canvas or paper,
saying no to artwork that one can pick up from the gallery and hang
on their own living room wall. “TÉR-kép” is an organic part of a par-
ticular space, it’s a type of installation artwork, dividing and comp-
leting the space plane. Each panel can only be installed in a specific
space, reflecting and restructuring the idiosyncratic structure and
qualities of that space, giving it a new unique quality in an exclusive
and irreplaceable manner. Each panel is uniquely made. It is one of
its kind partly because it is produced by a particular technique that
makes it impossible to replicate and partly because it is always crea-
ted to suit the given space. This space dictates the characteristics,
size, applied technique and visual elements of the artwork. It creates
a close relationship with its particular space and environment, thus
it’s not possible to use anywhere else. It’s transparent and opaque
at the same time. It deconstructs and divides space but it does not
disconnect it. It enriches, creates a distinctive atmosphere but it does
not dominate. It’s a systematic constituent of the whole.
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Plexi-glass –which on its own can be used to create exciting new block units- is a dist-
inctive material. With its transparency it enables the space around it to prevail and
at the same time the material is still there; it bulges, divides, encompasses and
constructs. It enhances and enables vision, mirrors, and is being mirrored. It shines
and creates a distinctive structure of dimness. When covered with a faint lustre it adds
a modest atmospheric tint to its environment, it covers certain parts of its surroundings
like a painting creating contrasting colour patches that hover around in space.
The visual elements appearing on the plexi-glass utilise the unusual qualities of their car-
rier in their structure. The unique paintings that are created with diverse techniques
align with the environment in both mood and themes. Yet as independent works of
art they modify their surroundings with their own identity and aura;
oil paintings worked traditionally onto canvas, mixed media screen printings or fractural
games created on the surface with oozing, swirling forms, covering thickly or drifting
mistily and giving in to the glimmering light and silhouettes.
Lush natural formations in the centre of a minimalist living room, jungle on the window
panes of a conservatory, clean, geometric shapes in a loft apartment, poetic monochrome
drawings of wooden twigs in an open space, abstract forms open to interpretation in a
meeting room – all giving exciting new meaning to space and having a new influence on
the people in that space.
Prevailing material
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Genius loci –
The spirit of a place
It was already understood in ancient times that the constructed space around us does
not simply equal to the sum of the functions of the objects and walls around us.
Space has its own stories, character, spirituality and culture. Events that once took place
there and emotions experienced leave their marks on the objects and on the walls, while
these imprinted objects react to current events around them.
Man and the spirit of the place exist side by side in a strong, interdependent sym-
biosis. Colours, scents and forms all tell tales about the everyday lives of the people that
live and work there. On entering an office one may anticipate what managers there think
about their work, which in turn influences their employees’ work ethics. When visiting
a home we may immediately recognize the spheres of interests of the people that live
there; their levels of education, social standing, whether they think conservatively or
progressively; the nature of focus points in their lives.
The nature of a place influences the attitudes and behaviours of those that enter
that place, if the first impression is a positive one, a guest will be more willing to return to
a hotel, an employee will work with greater efficiency, a coffeehouse will become busier, a
meeting proves to be more effective, a client reacts more sanguinely. Thus the individual
character of a space influences our own successes or failures; there’s a two-way flow of
information and energy.
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Just imagine the effect and
reactions to…
A customer service office decorated with space dividers made of images of the
people who work there
A large foyer of a hotel where fascinating space units and colour patches fine tune
the emotions of the guests that enter
An interior designer who can enrich her tools with innovative and individual solutions
Decorating your largest windows with paintings rather than drapes, which will not
only let through the light but also will give life to it through forms and shadows
A showroom that draws immediate attention thanks to the colourful visual installations
When customers in a commercial bank queue in an area delicately separated by
paintings rather than bare railings
Using a contemporary installation in a minimalist flat to separate the dining room
from the living room without drastically dividing the room, and at the same time
showing your taste in art
Paintings placed in a coffeehouse creating a more intimate atmosphere for customers
Creating new and different spaces with spectacular mobile space units equipped
with lights to match any function or task
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Vision, artistic value
and accessibility
It’s difficult to create a contemporary image that does not operate
with obsolete tools yet suits a conservative audience with traditional
expectations from arts going back to hundreds of years. It’s very hard
to use new, untested visual elements, conveying thoughts and
impressions and reach the targeted audience of the day.
There seems to be a wide chasm between modern artistic tools and the
traditional aspects of the audience’s taste. Today’s artists are assisted
in conveying their message by suggested interpretations, a great deal
of background work from critics and by robust marketing.
Art has ceased to be an act of communal and public act. Quoting
Umberto Eco: ‘…this will be the difficulty faced by painters; offering
the most liberal adventures for the eye and creating communication
at the same time.’
I am in search of forms of expressions that create a middle ground
between everyday utilitarianism and the deliberation separated from it.
Forms that do not become commercialised or vulgar, forms that
allow the audience to have a say in the process of creating art
and creating a constructional openness as well as an openness
of interpretation.
JUNGLE CURTAIN
45 × 85 cms, oil, plexi
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Your role
in the creative process
Your TERkep has not been produced yet. There is no point in visiting
galleries and looking for it. Looking at this portfolio is futile as well.
Part of your TERKEP is in your mind, which no-one else knows or sees.
You (also) will be needed for it to be created. Your thoughts, intentions,
environment, aims and personality. Your TERKEP is an image of you
yourself, inserted into your environment, expressing your personality;
your involvement is essential in its making.
It can only be created/ produced from the existing and changing mental
images of your environment and world.
To participate in the creative process is a spiritual adventure.
Thinking together. Imagination, self expression, a manifestation of
your ideas and thinking in a spatial dimension. Let’s discuss, introduce
yourself, think, create and realise your own TERKEP with my assistance.
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Gained a degree in Aesthetics between 2000 and
2006 from Eotvos Lorand University in Budapest.
Some of her teachers were Béla Bacsó, Sándor
Radnóti, Péter György, György Spiró, Péter Balassa,
Marcell Németh, Zoltán Papp, Tamás Seregi.
Wrote her thesis on the elements of contemporary
open visual art forms.
Plans to further her studies by joining the University
of Vienna’s design programme from 2015.
Work experience:
When she doesn’t paint, she organises and gener-
ates international cultural, art and education devel-
opment projects. Employed by an international NGO,
MOSTArt, of which she is a founder and secretary.
She currently leads international projects there. Part
of her work is organisational management, lever-
aging international projects, project management,
and the coordination of international and nation-
al projects, with around 150 institutions from 20
countries. She leads educational development and
adult teaching projects and chairs innovative art
education frameworks and workshops.
About the artist
For painters it’s much easier to write about pictures
than about themselves. But since an introduction is
an organic part of an album, let’s see a few points
about the ‘culprit’, strictly in third person.
Personal details
Lives on the city limits between Domsod and Tass in
a resort town on the bank of the Danube. Facing the
Danube and surrounded by trees, flowers, squirrels
and hedgehogs with a studio on the second floor.
Also has a bicycle.
Anett Varga born in Budapest in December, 1973.
Hungarian citizen, female.
Tertiary education
Likes to learn. Gained her first degree in Drawing
and Visual Communication (the official title of the
programme) from the Eszterhazy College in Eger
between 1992-98. Some of her teachers were Nagy
B. István, Földi Péter, Magyar István, Balázs Péter,
F. Lugossy László.
Simultaneously pursued a degree in Literature from
the same college (likes to read a lot, too).
Edited a college paper, participated in student
movements, all kind of pranks and graduated with
first-rate grades.
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Private Exhibitions
1994. Dömsöd, OMK, Cultural Centre | 1998. Dömsöd, OMK, Cultural Centre | 1998. Budapest, Blue Café |
1998. Eger, KIK, Youth Centre | 1999. Ráckeve, Experimental Gallery | 2000. Dömsöd, OMK, Cultural Centre
| 2000-02. Királyrét, Hotel Castle, periodical exhibition | 2001-02. Kiskunlacháza, Internet Café, periodical
exhibition | 2002. Budapest, Radóczy Mária Gallery | 2003.Kiskunlacháza, Cultural Centre, Hungarian Day of
Culture | 2003. Budapest, Zsókavár Gallery | 2003. Budapest, Haás Gallery | 2003. Rome, Palazzo Falconieri |
2003. Csemő, Office of the Municipality | 2003. Budapest, GreenPoint 7 Office Centre, demonstrating room, |
2004. Ráckeve, ’Kék Duna’ Hotel Wellness | 2004. Budapest, MOM, tower B | 2004. Budapest, ‘Trafik’ Gallery |
2005. Budapest, ‘Eprecske’ Gallery | 2005. Budapest, West Balkán’ | 2007. Virányosi Culture Centre, Budapest
Common exhibitions:
1992-98. Szekszárd, Gyöngyös, Budapest, Eger | 2000. Ráckeve, Generations’ Exhibition, Hotel ’Savoyai’ | 2002.
Ráckeve, Biennal of „Keve Group”, Keve Gallery | 2002. Kiskunlacháza, Exhibition of Artist-Teachers, Cultural
Centre | 2002. Budapest, ’PIKK-ART-KÖR’, Fészekkert | 2004 Ráckeve, Biennal of „Keve Group”, Keve Gallery
| 2004. Délegyháza, Exhibition of Invited Artist - Teachers, Cultural Centre | 2004. Budapest, ‘Trafik’ Gallery,
’Virtual’ – Global-Art Festival of Occupying the Theatre ’Józsefváros’ | 2005. IV. International exhibition of
Beyond Borders, Gaeta | 2006. Ráckeve, Biennal of „Keve Group”, Keve Gallery | 2008. Ráckeve, Biennal of
„Keve Group”, Keve Gallery | 2008. Exhibition of „Patak” Young Artists (artistic award) | 2009. Ráckeve, Biennal
of „Keve Group”, Keve Gallery | 2010. Budapest, Csili Cultural Centre | 2011. Budapest, Csili Cultural Centre |
2012. Budapest, Pestszentimre Cultural Centre | 2012. Budapest, Csili Cultural Centre | 2012. Ráckeve, Biennal
of „Keve Group”, Keve Gallery | 2012. Budapest, Csili Cultural Centre
Exhibitions
Anett Varga
varga.netti@gmail.com
+36 20 368 3552
TÉR-kép facebook.com/netti.varga.hu
varganetti.wix.com/paint
Photos: Tamás Szabó, Zoltán Tézli
Typography: Zoltán Tézli
Contact
