GROSSES TREFFEN

Michal Czinege

Born: 1980
Nationality: Other
Based in: Finland
Media: Painting, Sculpture / Installation
Content: Abstract, Conceptual

Website: http://michalczinege.com

I take interest in things that may seem irrelevant at first sight, but by means of “zooming in” confront us with the way we perceive the world and relate to it. Human visual perception has always fascinated me, thus also the tension of out-of-focus reality and balancing between figural and abstract painting. I strive to challenge space around the flat, painted image and transform this planeness of painting into an object or installation. My sources of examination are typically photographs of various origins or anything else convertible into a digital image, such as drawing or text. This brings me to analyse the technical image like a crime scene, where every detail gains crucial significance.

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Ii Diary, acrylic and acrylic transfer on canvas on dibond, 30x25 cm, 2015. The series was created during an artist residency and has the character of a diary. Be it a fragment of an object, an image from a magazine or of the river Ii and its forests, images accumulated from the everyday are deconstructed and layered together.

Ii Diary, acrylic and acrylic transfer on canvas on dibond, 30x25 cm, 2015

Ii Diary, acrylic and acrylic transfer on canvas on dibond, 30x25 cm, 2015

Ii Diary, acrylic and acrylic transfer on canvas on dibond, 30x25 cm, 2015

Head 12, acrylic on canvas, 180x160 cm, 2015. The series of ”Heads” are anonymous portraits sprayed on canvases larger than life size. The paradox of the large portraits, at the same time both anonymous and out of focus, raises deliberate tension and brings about the impossibility of viewing the image up close. Paradoxically, approaching the painting takes the viewer further from decoding it. The figures are usually no bigger than the head of a pin in the photographs they originate from, and only by painting them do they turn into a recognizable form to myself, too. The process and the fact that the figures are torn out of their original context establish timelessness into the paintings: it is no longer certain nor important whether the origin of the portrait is from decades or weeks ago. The technique of spraying and the absence of brushstrokes emphasize the anonymous character of the “Heads”.

Head 11, acrylic on canvas, 180x160 cm, 2015

Head 8, acrylic on canvas, 180x160 cm, 2014

Head 9, acrylic on canvas, 180x160 cm, 2014

Tropical Sun, acrylic on dibond, 168x150x50 cm, 2014. The “Tropical Sun” shines as mirroring back light. The two-dimensional image is folded as if on a piece of paper, tired from standing straight, with light glowing through the cut-out gaps and the absence of image.

DoubleScapes, installation view at the Trnava synagogue, Slovakia, acrylic on construction mesh, 4x13 m & 3,2x21 m, 2007. “DoubleScapes” is a painting installation based on the Danube riverside. My intention was to bring the image of landscape – day and night of the same site – inside the synagogue in life size. The material of the construction mesh that the image was painted on causes it to constantly fade in and out, depending on both the angle it is viewed from and the architecture behind it.