KORODI LUCA
Windmill warrior
FORRÁS FORRÁS FORRÁS / SOURCE FOUNTAIN BOIL
Létminimum Bázis / Minimum subsistence base / installation /sound performance
Skin of the Earth project 2022
The sound, the urban atmosphere. It blends into the fluid movement of the images and interacts with the atmosphere.
Sound blocks of urban atmospheres are generated and mixed with the visual material. The components of the particles of space merge and are absorbed into us.
Other elements of the exhibition are natural elements (wind, ozone) and a painting.
1. Ozymandias / painting
2. Ozone maker machine - feeling in the air
3. Fountain / video / 5x5 minutes
4. Slide show / video / HDMI 192x1080 5. Fan
Flying monument
THE SKIN OF EARTH
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Ffrindiau Gallery 2021
No-man's land
In the nimph stage
R.E.M. Phase
I made an exhibition in Drei Raben Gallery in 2018. Pop up situation, when the three object gives another view or layer .
The animation is from 4 element: wind, glass, leaves, blank page (empty canvas)
In the space there was standing a painting which titled: Ozymandias. Half covered large hand from marble in the desert.
The film was shooted in to the flat of the hand, but cross before an object. It called „Rombush rainbow”.
The environmant made a new reality.
(…)as if we were trying to enter, from actual space directly into the world shown in the image. We saw a huge with a swaying venetian blinds, the light beans of the machine, and the roaring voice, behind which, in the dark room, that event was merely drawing on us(…) Tamas Seregi /The birth of an image
Fossils, the remains of marine animals that died a hundred million years ago, were pressed into petroleum in the deeper layers of the earth's crust. The view obtained from these in a vehicle driven by fuel, during a journey above a certain speed, inspired me to document the light phenomena through the speeding windows. I moved the camera in the car window like a gesture, using the camera as a brush. In some cases, their imprints resemble the spine of a dinosaur, shark, or human, the shape of a seahorse, or even DNA. The contrasts and few colors in the exhibition create a cosmic atmosphere. The in-between moments take on the character of calligraphy, the difference is that here I use a camera instead of painting. The almost invisible traces, signs, sounds, and light gestures created in the time between moments take on a calligraphic character, bearing the marks of sign and meaning at the same time.
resonance 2017
Twilight 2015-16, paintings
Twilight
2015-16
TWILIGHT PHASES
Twilight phases
I made photo documentation from four different points of the Vienna Flakturm lookout (which was a military observation unit in World War II, a Nazi locator and which could never be demolished).
I have been watching the twilight for a long time, I like to experience the process of entering another world.
The documentation of the phases of twilight is only a starting point for the explanation of the following painting problem:
I like to think in the observation deck, it's an island for me, a metaphor for the different arenas of the ego spied from a distance - or insight.
I don't know what was more important.
Something pushes us forward that makes us constantly change...
Waiting...no man's land
We are inhabitants of the universe, made of stardust. Our home is a rolling, dark, dense material, a cosmic unknown, turning in on itself and pulsating, a barren, emotionless sheet of space.
Or the burning of moments and frames layered on top of each other from the small differences of the transformation observed gradually in the setting sun.
Layers of paint - the perfect reproduction of the twilight blush surface
ratio
below manganese violet, green and orange
white glaze above
cosmic dots in the marble-like velvet cracks of Parisian blues
Imprinting emotional reflections on the canvas of the momentary states of artificial light accents embedded in natural light. Building reflex.
My search for sound, escaping from clichés, is not music, but rather trying to find a clean line of sounds, but one with which I do not want to create my own music, because my goal is not to compose music or a piece of music, and yet another language of my own, but enough of concentrated waves of energy on the empty surface of the canvas to project, to fill it with energy, so that the viewer can then extract it from it.
When I think about the many layers that have been piled on the city and build upon each other the layers of memories of generations. The stalactites of his spirits. Repetitions of faces and buildings, layering of rocks, like ghosts melting and disappearing into each other.
The surfaces of the images are the result of just such experienced processes.
Phases to blackout.
I discover concrete things, states of matter, Transformation! (Kafka). I would like to use the visual.
I want to look at things without seeing them.
I would like to reinterpret what I know, what we know
I close my eyes and open my ears, open my eyes.
The form, silhouette, and details should appear in the image with improvisational coverings, their trace-like presentation.
I cover up the sight to the point of unrecognizability, so that it does not interfere with the transubstantiation. But maybe it's not the sight that transforms in the picture, but I transform into something else in the process. And this obviously leaves a mark on the canvas.
Twilight phases tuning process, techniques. And I figure it out during the creation process.
Vibrating, floating sound - field
louder floating sound - water
clear sound - air
supremacy and breathing
PURE WAR
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