ARTISTS
J贸zsef Csat贸: Crossing The Invisible
Sean Horton (Presents) is pleased to announce the New York solo debut of Hungarian painter J贸zsef Csat贸 鈥� the exhibition is the first in a year-long series to be held at 515 West 20th Street, 3rd Floor in the Chelsea neighborhood of New York City.
In what has become his signature style, the paintings of J贸zsef Csat贸 are rooted in a practice that the artist refers to as 鈥渟ketchbook mythologies.鈥� Emerging from a sort of doodle鈥檚 paradise, the artist鈥檚 mostly biomorphic, yet personified, pencil drawings sometimes sprout from page to canvas where they join others to build a brave new world.
Calling his studio a 鈥渕icrocosm鈥� where ideas 鈥渇ertilize鈥� others, the resulting paintings often establish a relationship between the natural and the human-made. And while the scenes are not overtly dystopian, there is the slightly sinister implication that we have just missed some sort of event or that we may be to blame for the interruption. In Calibrating Feelings (all works 2021), colorful stems and stalks are stuffed into pastel pottery-like containers that are hovering around a woodgrain-like surface with glowing eyes 鈥� one can鈥檛 help but think of that not-entirely-welcoming jangle of the shopkeeper鈥檚 bell that causes us to adjust to the sudden stillness of our local florist. 鈥淛ust looking鈥︹�� we say to alleviate the tension.
While Csat贸 paints mostly intuitively, there is a sense of display or organization that brings to mind words like diorama, menagerie, or collection, however, the experience of these scenes is freely meandering. For example, Finally We Meet could easily be a fairy tale version of an afternoon walk through a sculpture garden or a natural history museum 鈥� one where the artist鈥檚 turquoise overpainting recedes to become a sky with heavy, colorful clouds and the bulbous Mir贸-like form is guarded by the weathered minerality of some sort of beast鈥aybe prehistoric, maybe friendly? In Butterfly Trap II, a scene is set, in dramatic form, for a bashful central character that is ever-so-slightly revealed through Wisteria-colored curtains, but on this occasion the artist鈥檚 employment of a bone-colored surface melds into the shape of a bell jar.
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Sean Horton (Presents) is pleased to announce the New York solo debut of Hungarian painter J贸zsef Csat贸 鈥� the exhibition is the first in a year-long series to be held at 515 West 20th Street, 3rd Floor in the Chelsea neighborhood of New York City.
In what has become his signature style, the paintings of J贸zsef Csat贸 are rooted in a practice that the artist refers to as 鈥渟ketchbook mythologies.鈥� Emerging from a sort of doodle鈥檚 paradise, the artist鈥檚 mostly biomorphic, yet personified, pencil drawings sometimes sprout from page to canvas where they join others to build a brave new world.
Calling his studio a 鈥渕icrocosm鈥� where ideas 鈥渇ertilize鈥� others, the resulting paintings often establish a relationship between the natural and the human-made. And while the scenes are not overtly dystopian, there is the slightly sinister implication that we have just missed some sort of event or that we may be to blame for the interruption. In Calibrating Feelings (all works 2021), colorful stems and stalks are stuffed into pastel pottery-like containers that are hovering around a woodgrain-like surface with glowing eyes 鈥� one can鈥檛 help but think of that not-entirely-welcoming jangle of the shopkeeper鈥檚 bell that causes us to adjust to the sudden stillness of our local florist. 鈥淛ust looking鈥︹�� we say to alleviate the tension.
While Csat贸 paints mostly intuitively, there is a sense of display or organization that brings to mind words like diorama, menagerie, or collection, however, the experience of these scenes is freely meandering. For example, Finally We Meet could easily be a fairy tale version of an afternoon walk through a sculpture garden or a natural history museum 鈥� one where the artist鈥檚 turquoise overpainting recedes to become a sky with heavy, colorful clouds and the bulbous Mir贸-like form is guarded by the weathered minerality of some sort of beast鈥aybe prehistoric, maybe friendly? In Butterfly Trap II, a scene is set, in dramatic form, for a bashful central character that is ever-so-slightly revealed through Wisteria-colored curtains, but on this occasion the artist鈥檚 employment of a bone-colored surface melds into the shape of a bell jar.
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