2017 was a remarkable year in András Bernát's life. For nearly 40 years, a consistently constructed pathway for the artist's 60th birthday has come together in a long-awaited oeuvre exhibition and a companion catalog. By slashed the volume, one has the feeling that he falls into a sprawling novelist, where the main motifs come back again and again more sharply or vaguely. There is a wonderful painting arc that still has surprises for those who have long been following Bernat's painting. The volume also presents the experimental paths, those joints that appear as a blizzard in the oeuvre. The main theme, however, is definitely there, rubbing, swirling, swirling in the images, and taking us with you.
In most of the landslide landscapes, there is an uncoded (which is a threatening feature of) threatening natural resources, sometimes in crystal structures, sometimes in never-ending spiraling bends. But in these pictures, the body can reveal its intangible, irrepressible, surfaceless nature. Saint Thomas's experience of infidelity resembles the experience as revealed in Bernat's paintings of the 'body', as the majority of his paintings bear witness to the unexplainability (essence).
Last year, the Landscape Configuration was presented at the three major exhibitions of the country, after the Paksi Gallery, at the House of Arts in Veszprém and then at the MODEM in Debrecen.
Most of the photos presented at this exhibition were born in 2016 and have not yet been exhibited in Budapest. The exhibition presents the road to the latest images: these paintings can be classified as the first phase of the so-called 'tectonic images', showing the moment when the planes' encounter is not yet open in the pictures, it only shows that it will break. The basic element and the most important effect of the paintings continue to be the light reflecting on the straight line brushes.
He was born in Törökszentmiklós on December 6, 1957.
1980-1986: Hungarian Academy of Fine Arts, masters of Ignác Kokas, Gábor Dienes. 1986: Herman Lipót Prize. He was also a Soros scholar in 1986 and then Derkovits scholar from 1987. 2000: Munkácsy Award; Vienna City scholarship; 2004: NKÖM Award (One Week Exhibition). Lives in Budapest. He is still a college student in the development of Hungarian new painting with Zoltán Ádám, József Bullás and István Mazzag. In the early 1980s he painted dark-toned images with few motifs, but sometimes with powerful surrounds (hills, trees, canals, stairs). These signposts are also becoming more and more distant, sometimes disappearing in the first half of the 1990s. For the painter, the light reflection of monochrome surfaces becomes more important thanks to the factum. In his 1995 exhibition, eight pictures were installed, confronting dark blue and ocher canvases.
András Bernát is an important figure in Hungarian painting. At the time of his departure, he painted dark-toned images of little motifs in the '80s, which in the' 90s were replaced by pulsatingly abstract surfaces, which nowadays became a trademark. Its dominant motif is its twisted, swirling shape, with its strong dynamism and pulsating motion. Bernas is spending long nights painting his paintings, which are homogeneous at first glance. The evolving forms are dynamically changing in the light they are exposed and, by the strange mix of the aluminum powder mixed with paint, newer structures are released.
Bernat's pictures are in continuous motion and nothing can grasp them. Bernat's color usage is characterized by subtle transitions, and the color of the pictures sometimes reflects the sensual mood of József Egry's works.