megnyitó: Jovián György és Kiss Dániel - Supra Omnia

The Zsófi Faur Gallery cordially invites you to the opening of the exhibition *Supra Omnia* by painter György Jovián and sculptor Dániel Kiss, which will take place on Wednesday 14 October at 7.00 pm.

The exhibition will be opened by the artist Márton Barabás.

Painter György Jovián has developed his lyrical artistic language through a synthesis of classical fine art and avant-garde movements, from which his talent, dedication and the humanism inherent in his very being as a painter radiate. His world is mythological and philosophical; through the visual arts, he has arrived at a Christian-inspired existentialism which regards individual existence as the origin of knowledge, and links the confrontation with the essence of being to the liminal situations that arise in life. At the same time, his works are not without a touch of romanticism, which manifests itself in a longing for the past, in nostalgia for bygone eras fading into the distance, or perhaps for worlds that may never have existed. His body of work is characterised by a wealth of detail and exquisite craftsmanship. He is a recipient of the Munkácsy Prize and was awarded the title of Meritorious Artist of Hungary in 2024. /With reference to a text by Deodath Zuh/

The works of sculptor Dániel Kiss are created with the aid of archetypal images that can already be found in the sacred symbolism of cave paintings and in children’s drawings; they are preserved in our collective consciousness. Our compulsion to leave a mark surfaces through the form-images that live within us all, which have always been present across humanity’s various civilisations and cultural spheres. Dániel Kiss is most preoccupied with the interplay between these elements, the transmission of their layers of meaning, their formation, and their collective and subjective imprints. In his most recent works, he explores the phenomenon of ‘pseudo-writing’—based on imitation and initially devoid of concrete meaning—and its further development in the visual arts, namely ‘asemic writing’ (asemic writing – in a semantic sense, the imprint of pure visualisation and linguistic liberation), and its spatial articulation. The formal situations characteristic of his sculptures—which evoke continuity and a return to themselves—also present a challenge in terms of the materials used (wood and stone): from the examination of their physical properties, through the limits of working the material, the aim is to discover new, statically functioning systems.