Tamás F. Farkas (Budapest, 1989)

My impression is that Tamás F. Farkas has composed the visual structures so much of his own for almost two decades as a result of a deep drive or obsession. His works have cer­tainly changed over time alongwith the alterations and evolution of his personality and environment. The paintings coming from the late 1960s and from the 1970s suggest the spirit of structural, geometric and systematic efforts culminating at the time. They show perfect synchronism with that approach, and the same feature can be traced also in his present pictures. The changes of the i 980s have modified both the social and the technical approach of F. Farkas, enriched his stereoscopic structures and rendered his colours and surfaces more playful, improvised and less stringent. The effect of computer-graphics, electronic design, new expressionism and postmodernism can all be positively felt in his works, and the integration of these trends in the melting pot of the author's personality boils down to a novel composition of geometric structures. The taking of purely geometric formations as a starting-point results in organic struc­tures and in the composition of individualistic forms. In search of synonyms, nature has already created these individualistic structures in some form, even if the aim and pur­pose of their evolution have been utterly different. Let us just think of the formation of crystals or the building up of molecules. The analogy is unquestionable, and microbio­logists have duly been interested in the art of F. Farkas, which interest has created a good basis for mutually fruitful co-operation for a long time. This fact also confirms that the studying of and research into theorganisation of structures area comprehensive artistic, scientific and human matter. The works of Tamás F. Farkas, transposed into two dimensions, are in reality organic configurations of three or more dimensions, which sometimes introduce the fourth di­mension to the spectator, taking him by the hand and starting out on an imaginary jour­ney where, travelling along a set route, one encounters a series of new form and space, broadening his horizont and enriching his concept of the world. Tamás F. Farkas assigns an important part to chance and to the colours which, as a result of light and shadow effects and the spectator's movement, change their characteristics and by that, enhance the dynamism, richness of information as well as the unity of time and space in the pictures. Tamás F. Farkas has recognized the importance of and taken as a starting point for his pictures the Einstein theory of the unity of time and space (unfortunately, our current world concept is still staticand one-sided), offeringhis invaluable help in the perception and understanding of more than three-dimensional spaces. The artist regards his own pictures as an experiment, which in terms of approach and substance can be qualified as progressive, demanding mental reprocessing and deve­lopment. Budapest, February 1989 András Mengyán

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