Portfolio

recent work:


In a joint collaboration between the New School as well as the people of El Jardín del Paraiso community garden in the East Village, NYC I have created a mural. To make the originals, I copied one of my paintings and mirrored it in the same time. My guiding questions were: how do the copy and the original work together? How do they communicate with each other? How will the copy change the original and how will they be simultaneously identical and different? This experimental way of creating a public art-piece like this mural transformed the original idea from a static, visual piece—the mural itself—into a new form of connecting people, an actual act of community-building, lifting us up to a new stage of being together.

I've launched a fundraising campaign to collect donations for this work from the community. 
The on-line campaign lasts till July 5th 2012



About my paintings:


It is the personal experience that connects the paintings about my surroundings in the past three years. I have been developing these works in ever-widening geographic circles from my home environs in Budapest to different European locations and New York City. What interests me is the impact seemingly insignificant public spaces exercise over all of us, that is, I am interested in the genus loci that determines mental environment, architecture and naturally painting. Conventional painting techniques, lights and shadows, forms and colors are excellent tools to express personal sensation. In my compositions I set free the spirit of the place —the layered information hidden in the spectacle. In contrast to the abstractions of the twentieth century, I see the true abstraction in the kind of painting that is based on the spectacle and is "recognizable" and that extracts the relations between "things" from these spectacle/s of everyday life. This series of my paintings is based in a repetitive methodology, in them the ever simpler "buildings" have been transformed into rhythms and painterly musical systems just as it happened in abstract expressionist painting. However, selecting the right detail while sometimes walk right on the edge of recognizability, my paintings always preserve the character of the given locale and its visually accessible complexity--that is, the real Spirit of place.


                                                                                                                                                                                                



klikkelj a képekre a sorozatok megtekintéséhez   /   click on the images to see the series




Urbs   2006 -



A személyes jelenlét élménye köti össze az utóbbi 3 év környezet-portréit, melyeket táguló körökben a budapesti otthonom környezetétől, Európa különböző helyszínein át, az utóbbi év nyárán NYC-ben fejlesztettem. A jelentéktelennek tűnő köz-tér részletek mindenkit érintő kisugárzása, a hely, – a Genius Loci hatása érdekel, mely meghatározza a szellemi környezetet, az építészetet – és természetesen a festményeket is. Ez a hatás igazából egy interakció. Az emberi megnyilvánulások gyökerei nagyban hordozzák közvetlen közegük, a természetes környezetük vonalait, gesztusait - és viszont: a kulturális környezet végül mindenben felmutatható vízjelként ivódik a tájba. Az elmozdulás kontrasztot generál, mely aztán egységes, mégis szüntelen változó festői nyelvet formál. A kontraszt hirtelen rávilágít mindenre. „Valahol” lenni sokkal valóságosabb, ha voltunk már máshol is. A hagyományos festői technika, a fény és árnyék, a formák és színek jó eszközökként szolgálnak a személyes érzékelés kifejezéséhez. A kompozíciókkal a látványban rejlő rétegzett információt, a hely szellemét szabadítom föl/fogalmazom képpé. A fény szerepét valóban expresszív festőiséggel hangsúlyozom, azonban a huszadik századi absztrakt-expresszívvel szemben, én a „látványelvű, felismerhető” festészetben találom meg a dolgok viszonyát egymáshoz, – az absztrakt tartalom a mindennapi látványban él. Repetitív munkamódszerrel készülő sorozatomban, az egyre egyszerűsödő “épületek” a képeken, valójában ritmusokká, festői módszerekkel létrehozott zenei rendszerekké alakulnak át. Minden hely valamilyen hullámhosszon rezeg. A képeken, a különböző helyeken elraktározott rezgések által alakul egy közös történet, egy olyan hely szellemének a története, amelynek neve: az én Világom.





Spaces 2002-2006



"Progressive architectural trends enjoy redefining cities. One important architectural intention is aimed at loosening the static nature of the image of the city. Changing the space and its impression becomes the newest goal. Korodi’s space-deconstructing works seem to serve the same purpose, though in what is obviously a much more intimate milieu. Turning over the walls, doors and windows of inner spaces and large halls, as well as the light planes flooding them, sliding them into each other, he makes us walk through an everyday space through a an entirely unknown path. Our eyes, however, understand that he does this to further a two-dimensional image. In his latest series Korodi gave up the - partially digital - deconstructing of spaces and with a clean cut he started to examine the man-made, as well as the natural environment around his own studio." László Hemrik, art historian



Montage 2003-2008



Carpets  1999-2002



"The next subject chosen after the development of the fur theme is that of the carpet, which is in many ways still connected to the previous process – thou the carpet pictures painted after 1999 already lack the primary atavism – they open a door to another civilization: to the East, while reserving the attraction to ready motifs and the touchable textures of condensed threads so different from the surface of paintings. Korodi at first tried to create the visual illusion of the structures by using thick layers of paint, composing almost three–dimensional textures. Within the “Carpet-series” the layers of paint later started to get thinner, and the dominance of the motifs over the illusion of the texture became apparent as he used the painting roll as a tool. After the joyous play of copying fur patterns, the carpet-pictures reveal traces of other experiments in painting and that is why these pieces form a much less unified sequence. Some paintings represent whole carpets showing threads spread into the background of ground paint {for example the Afghan carpets that reflect actual politics at the same time}, and some show only details of patterns or just traces of paint faintly suggesting actual carpets. Some pieces preserve the sensuality of the “Fur Pictures” or the vivid colours of real carpets; while others become almost monochrome, with only their texture showing the passion of their creation. The forced choice and the search for new ways are apparent in the “Carpet-series”. Even the choice of subject and media tells the ambivalence: the freedom of imagination and the passion of creation are consciously let restricted by the given structure of motifs and the time-consuming detail work of carpet fabrication."
  • catalogue text by Tunde Topor / art historian, editor in chief of ArtMagazin Hungary








Skins  1994-1998



I aimed to make painted objects: paintings that exist by themselves, as separate phenomena. These paintings represent a sensitive inquiry into the unique quality of their subjects as well as a painterly exercise along the fine line between the figurative and abstract. The result manifests the "meaning brought on by use” to me. The "Animal Skins” sprang from my deep visual unconscious; they were painted without models, based purely on memories. Atavisms of functional objects and symbolic treasures, these objects embody the trophies and the furnishings of ancient interiors, and of human bodies past and present. 




1995-1998