The Rise of the New Dawn (2016) – 160H x 200W cm – oil on canvas
The Concept Space is pleased to present works by Sándor Szász. The exhibition, Szász’s first ever showing in the United Kingdom, includes his recent body of work together with a rare installation. It is a transposition of the artist’s memory and vision of an environment changed forever by the impact of human actions.
‘The Dawn After Yesterday’ looks at the aftermath of a catastrophe in past or maybe the future by blurring the
boundary between history, fact and fiction, surreal and real, memory and imagination, past and future,
suffering and salvation, struggle and freedom in exploring the fact memory is identity.
Szász’s paintings depict to ruins, deserts, floods and machines all having social and political symbolism. The
conflicting personal and social identity emphasised by the faceless workers and inhabitants. We see balls and
balloons symbolising lose and new order – an ideology promising a collective consciousness.
In ‘The Rise of the New Dawn (2016)’, we see holey balls of hope and gigantic systems above faceless humans
as they toil within the ruins of cables and murky muddy waters of the floods trying to salvage something of
life. And in ‘Shadow Hunters (2016), once again faceless beings collectively recover and preserve holey tubes
of hope from the ruins as hot air balloons of authority circle round, looking from high above. The colour
tones and hues are so effective in these compositions that serves up a dream and bitter awakening in equal
Without being the messenger of doom but rather holding up a mirror from the past to question the possibility
of an impending apocalypse through human action. The struggle between man and machine is highlighted
with the gigantic representation, on occasions as extraterrestrials on earth.
Along side the works of painting, is a rare showing of a new installation piece drawing on elements in scenes
depicted in some of the painting narratives. An imaginary scene frozen in time as oil drums painted in his
signature holes (holey balls) that never pierce through the other side but rather into an unknown void are
mounted on thin elongated stilts that remind us of a desolate town.
Original helmets from the First (WWI) and Second (WWII) World War with rusted holes hung on a metal iron curtain suspended from the ceiling leaves us with a ghostly state of unease as we wonder what happened. This forces the viewer to confront our mortality and actions of the past. Original crumbling mud covered barbed wire from the battlefront of the First World War (WWI) and anti-tank hedgehogs imitations are used to suggest fortification and obstacle that belong to a world we can no longer defend. All of this is Szász once again, weaving history and fiction into a single frozen frame for the viewer’s reflection and contemplation.
Sándor Szász was born in 1976 in Marosvásárhely, Transylvania, Romania but now Lives and works in Budapest,
Hungary. He studied at Hungarian Academy of Fine Arts, Budapest, Hungary, has won numerous prizes
for painting with works in Museums collections and continues to exhibit both nationally and internationally.