“Walls, scaffolding, plastic sheets, a glass on a table, a view reflected in a window – sometimes whole, sometimes shattered and reassembled, in phases of kaleidoscopic motion.”
ART OF ÉVA KÖVES
FROM PAINTINGS TO INSTALLATIONS
25 years ago I decided to become a whole-time creative artist. I didn’t want to engage in any other money-making profession that would keep my time and energies from painting. I became an exhibiting artist immediately after graduation, and by mid-1990s succeeded in finding my own individual way of painting largely independently of any artistic groups or schools of the time. I wanted to keep distance from fluctuations of fashion and any “up-to-date” requirements concerning the way or the object of painting.
Of course, my work has its sources and antecedents. Most importantly, as noticed by my critics and art historians as well, it is related to the geometrical, constructivist and anti-mainstream tendencies of the 1920’s. The great Hungarian constructivist László Moholy-Nagy was of formative importance to me. I studied his photograms and photographs, and later, his pictures. Other masters of the twentieth century art have impressed me, as well, among them Lajos Kassák, an emblematic figure of the Hungarian avant-garde, the German artists Anselm Kiefer and Joseph Beuys. Gerhard Richter played an important part in finding new possibilities in working with photography.
| MONOCHROME CLACK PROJECT
The Monochrome Clack represents the creative activities of three artists who build a unique connection between painting and audiovisual electronic art.
| OSCILLATION PROJECT
The sound, painting and visualisation together induce a feeling of a swarming, a sense of the continuity of living with an infinite loop of sequences.
| COMMON THINGS PROJECT
The Project examines the significance of synergies originating from community, cooperation and open systems.