YouTube transcripts: introductions at the opening of Zsuzsanna Domonkos’ exhibition at Körösi Galéria


Dr Feledy Balász, art historian

(…) Zsuzsa doesn’t just paint something, she doesn’t fill her boards with colours - she paints something out of herself, hence the title of her show: A mélység sugarai -- lights from the deep.

Her strong impulses meet with an aesthetic awareness. The tension, and her passion, defeat the quiet in all her art. When looking at her paintings an open mind is most important, so we can accept what’s in them: an imaginary world that our fantasy can recreate. And our fantasy will guide us to our own feelings and life experience we might see in her work.

There’s a series of paintings Zsuzsa calls Imaginary Landscapes. Does she want to paint the invisible? Well it’s here: the Kind of Blue, her sadness maybe, or the Ghosts, for example. You can ask yourself, ‘whose ghosts are these? Zsuzsa’s or mine?’

Zsuzsa’s sense of colour is very strong, and her paintings are full of movement. With Freud we can speculate that Zsuzsa’s life must be all about moving, her passions moving, reflected on her painting. (...)


Szsuzsa’s statement

Thanks to Gabor Murai and Professor Feledy for their friendly welcome and introductions. You have heard them say how I paint and allow things to happen, how my feelings translate in gestures of the body, and that sometimes I wonder how those colours and shapes got on the canvas or board.

What you see here are the landscapes of my soul, imaginary towns or seascapes, and the forests or flowers of my mind. Whatever I might have seen in any of my paintings - different people have interpreted them in different ways.

So, allow my work to find a way to your life experience, follow your feelings and let your dreams run free, find your own title(s) for the painting(s) you like best, and, in this way, enjoy the communion with my art as I enjoy the painting. And enjoy István Grencso playing in front of some of my paintings - inspired by my art, freely improvising and inventing his music as I improvise with colours and forms. (...)