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My point of departure and inspiration for rethinking Dymaxion in the language of painting was Buckminster Fuller's abstract rendering. I added, in my imagination, all the terrain on Earth, with a sphere as the pattern. Previously,  in the Oratory of the Kiscelli Museum(  http://www.korodiluca.eu/2014.html  ) I had already made an attempt to show the Antarctica and other planetary imagery, under the title Elemental particles, with cosmic and musical aspects that also contribute to expanding space.


Nymph 2018

Striving to hold its ground in to no man's land between vizual and material existance...

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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  


Luca Korodi


February 24, 2017, 18:00

Fossils, the remains of sea animals that died a hundred million years ago were pressed to mineral oils in the deeper layers of the Earth’s crust. The view experienced when traveling above a certain speed in a vehicle driven by the fuel obtained from these has inspired me to document phenomena of light through the speeding windows. In some cases these resemble the backbone of a dinosaur, shark or human, the shape of a sea-horse or DNA. The contrasts and the small number of colors that appear in the exhibition result in a cosmic upbeat. Chance under control is verging on calligraphy, the difference being that I am manipulating a camera instead of paint here. The near invisible traces, signs, voices, gestures of light created in the time between moments yield a calligraphic character, bearing the features of the sign and the meaning at the same time.

    resonance   2017 


Twilight 2015-16, paintings

4.twilight seria.jpg




Gloaming period

I’d taken a photo documentation from four different points of the Flakturm observation tower in Vienna (which served as a military observation unit, a Nazi locator during the World War, and which is impossible to ever demolish).
I have been observing the twilight for a long time, I like to experience the process of transferring to another world.
Documenting the phases of twilight is just a starting point for unfolding the following problematics of painting:
I like to think in the observation tower, it is an island for me, a metaphor of the different levels of the ego scrutinized from a distance – or insight.
What was more important, I do not know.
We are pushed forward by something that urges us to change continuously...
Waiting... no man’s land
We are the inhabitants of a universe, made from stardust. Our home is whirling, dark, thick matter, the cosmic unknown, introverted and pulsating, barren, emotionless void form.
Or the burning in of moments and picture frame sequences layered from the tiny differences during the transformation gradually observed in the setting sun.
Layers of paint – recreating the surface of after-glow to perfection
underneath, manganese violet, green and orange
over it, white glaze
cosmic dots in the marble-like velvet cracks of Parisian blue
Reflections of sensations created from the momentary states of artificial accents of light embedded in natural light, leaving traces on the canvas.
Reflection of a building.
In my search for a voice, seeking to evade clichés, I was trying to find a clear sequence of sound rather than music, of the kind that is not aimed at composing its own music, because the purpose is not to compose music or even a piece of music, and yet another language of my own, but to project enough of the concentrated waves of energy on the empty surface of the canvas, to fill it with energy, so to say, so that the viewer can then extract it from there.
When I reflect on the way those many layers have settled on the city and grow layers upon layers of the memories of generations. Dripstones of its ghosts. Repetitions, the stratification of faces and buildings, melting and fading into each other like ghosts.
The surfaces of the paintings are the results of just these kinds of process experiences.
Phases until dark.
I discover concrete things, states of matter, Metamorphoses (Kafka). I would like to use the spectacle.
I would like to look at things while not seeing them.
I would like to reinterpret what I know, what we know
I blindfold myself, I open my ears, I open my eyes.
The form, the silhouette, details with improvised block-outs should be presented in the picture, presenting these like traces.
I block out the sight until it is unrecognizable, so it shall not disturb my transformation. But perhaps it is not the sight that is transformed in the picture, but I become something else in the process. And this obviously leaves its mark on the canvas.
Phases of twilight, a process of tuning, techniques. And I realize during the process of creating.
Vibrating, hovering sound – earth
more resonant hovering sound – water
clear sound – air
Being above nations, and a breath.



Museum Kiscell Church space

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