Orsolya Góra
Festőművész
I mainly paint colours I've always been very interested in what happens to colour when different colours come next to each other or on top of each other. I have been working on research called Colour Sequences for a few years. I investigate how the character, intensity and sensual effect of a colour changes depending on the order and time relationship in which it is placed next to or above other colours. The same colour behaves quite differently depending on the drying state of the bottom layer. When still wet, the colours mix, when drier, a different relationship develops between them. What interests me is that colours don't exist by themselves, they exist in relationships and time processes. This idea became one of the foundations of my entire painting. colour is not a static phenomenon for me: it exists in relationships and time. This is very similar to how human life works. An encounter, a sentence, an experience is added to what is already within us, and this changes us ourselves. Just as a new layer of paint changes the colour underneath, so do human relationships and our experiences. The layers wash away boundaries where no colour is what it first appears. During painting, therefore, the meeting of the conscious and the unconscious is very important to me. I have an idea when I start painting, but in the meantime the image affects me. Sometimes I choose a colour that I didn't originally think of at all. In such cases, the picture actually teaches me. Maybe that's why I don't like to decide whether to do figurative or non-figurative painting. I am interested in the very narrow field where we still recognize something from the world, but we can no longer fully name it. Where something else appears behind the sight. Very close to me is Hamvas' idea that in the sensual world we don't simply have to go beyond it, but we have to learn to perceive it more deeply. I'm looking for something similar in colour: what's still in it beyond the visible surface. Blue is therefore particularly important to me. Not because blue is a spiritual colon, but because for me it can carry depth, distance, water, sky and something intangible at the same time. The sea, for example, is blue overall, when it is actually made up of many other colours. Perhaps so is the Universe, which for me is infinite, elusive and transcendent, but at the same time not black and empty at all, but incredibly colourful and complex. I base all my pictures in Parisian blue. This is almost a ritual beginning for me. All images start from the same darkness, but due to the layers, decisions and time built on them, none of them arrive in the same place. For me, it's also similar to the human story: we all bring something with us, and then the layers of life continue to shape us. I try to think in this way in painting as well: not linearly, but in colours, layers and connections.
