Primordial energies in the paintings of Attila Olasz
Analyzing the works of the artist Attila Olasz, one is immediately struck by a certain and unknown energy which seems to spread widely through on all the canvas. In fact, the artist, who has a long and complex artistic career behind his, made up of increasing and contamination, has had the opportunity to learn a variety of techniques thanks also to the support of his teachers, with whom he has many exhibitions together. Proceeding with his artistic maturation, Olasz intensifies his research on the use of color and the power of the message that it succeeds in expressing. On large surfaces, often organized as chromatic fields or as uncontested openings of color, we can in fact capture numerous elements that seem to refer to the effects of a primordial big bang, where everything is incandescence, fire, lava, creative energy. In fact, the natural landscape seems to take hold in its representations, where we see the highlighting of important forms, which seem to rise in the space. To this sense of power is added the use of color that creates numerous nuances loaded of energy. Suggestions that derive without doubt from his numerous academic studies, particularly those on the painter Bacon, on which the artist has been particularly concentrated. It is in fact from there that so much creative magma seems to come out that embraces the canvas and does not give the possibility of quiet, but rather seems deliberately want to create a strong tension between the space and the forms that float in it in a free way and absolutely free from physical laws. So we perceive a continuous dramatic tension, that the use of color and the distorted perspective seem to accentuate ever more and finally create an endless vortex that absorbs the attention of the spectator, almost pulling it into a continuous emotional vortex. The alternations of the colors seem in agreement with the mutability of the states of mind of man, and perhaps this is precisely what the artist Attila Olasz seems to highlight, namely that at the end of this fast and dramatic emotional dance there may ultimately be and the serene light, which however must be patiently searched behind the canvas, beyond the nervous scenic space in continuous and vertiginous movement. All these personal accents create a special vision that always goes to be in contrast with the matter and the message of power that it represents and in those desolate spaces there does not seem to be room for the human figure which, for its very nature, does not express an idea of perennial strength but rather of finiteness. Olasz, instead, seems to want to emphasize the most powerful aspect of the four natural elements and he does so by linking them in their condition of primordial expansion, in a dutiful homage to our environment, which we often do not respect and which we fear when it rebels.
Elena Gradini műkritikus (Róma)
