| ff |
Featured Artist József Bullás Refractions |
| resource: 4411 Montrose Houston, Texas 77006 713.524.2299 www.anyatishgallery.com Gallery Hours: Tuesday - Friday 10:30am - 6:00pm Saturday 10:30am - 5:00pm and by Appointment |
| © 2007 modernhouston.net. - all rights reserved. cckc |
 | |  | |  | |  |
| The Hungarian artist, József Bullás, is considered to be one of the most important living practitioners of painting in his native country. Refractions marks his second exhibition at the Anya Tish Gallery. Bullás has consistently been an award-winning artist since 1984, when he was given the prestigious Herman Lipót Prize in Budapest. |
| Although he has often been classed as a member of the school of geometric abstraction developed in Russia in the early 20th Century by Kazimir Malevich and his disciples Vassily Kandinsky and Alexander Rodchenko, he has turned the original tenets of geometric abstraction on its head. While some American artists – Frank Stella comes to mind – have taken geometric abstraction, with its concern with the purity of the two-dimensional picture plane, out into the third dimension by employing shaped canvases, Bullás has pursued a very different strategy. Perhaps the simplest way to describe his creations is Geometric Trompe l’Oeil; in his works basic forms and even pure colors appear to exist in an illusionistic space. |
| Bullás states that he has developed a style of painting that transcends traditional forms. In his own words, “ My painting has two bases, one is the Western (European) traditional form. The other involves Oriental ornament.” In other words, his works are a reflection of Asiatic or Moslem decorative strategies, such as are found in Bukharan ikat silk weavings or Moroccan tiled surfaces. He goes on to say, “At first I paint on the canvas a Constructivist ‘ornament’ or ‘repetitive construction’ with a paint knife or brush….” “Then I roll across this many times…The process is such as when the ocean’s waves round off sharp stone fragments…This work process includes the narrowing down of time and exempts my works from the paradoxes of art history.” |
| 80130 |
| 80304 |
| 80305 |
| 80401 |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
