About The Work
Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on which something is deposited or inscribed. In this way the multiple layers of silicone or adhesive forms structures which remind us of the integrated circuits or human internal organs. There is a feeling of fluidity almost imperceptible in his works. Organic forms arise from the accumulation of layers and substrates that send to the primordial boom, in which the violence of separation has given birth to matter and existence. It is the moment when the conscious and the unconscious have not yet begun, the moment when the human and animal ideas have not yet arisen, where "me" and "the other" are not yet separated. (Julia Kristeva, The Power of Horror: An Essay on Abjection, New York: Columbia University Press, 1982)
Courtesy of Anaid Art Gallery
About Zsolt Berszán
Wax crayon on canvas
78.74 x 59.05 x 0.98 in
200.0 x 150.0 x 2.5 cm
This work comes with a Certificate of Authenticity. This work is signed by the artist on verso.
About The Work
Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on which something is deposited or inscribed. In this way the multiple layers of silicone or adhesive forms structures which remind us of the integrated circuits or human internal organs. There is a feeling of fluidity almost imperceptible in his works. Organic forms arise from the accumulation of layers and substrates that send to the primordial boom, in which the violence of separation has given birth to matter and existence. It is the moment when the conscious and the unconscious have not yet begun, the moment when the human and animal ideas have not yet arisen, where "me" and "the other" are not yet separated. (Julia Kristeva, The Power of Horror: An Essay on Abjection, New York: Columbia University Press, 1982)
Courtesy of Anaid Art Gallery
About Zsolt Berszán
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