I made up my mind to create paintings of positive eradiation, of optimistic tone.
My target audience is that of young adults who have grown into the xxist century without any social or political stress, and their life is primarily centered on searching their own happiness. I am elaborating a new artistic style based on a young theoretic background of positive psychology.
My subjects are centered on sexuality in a way to go against the habitual visual appearance of this theme so accustomed in our era. Pictures are erotic but never vulgar. The visualization of sexuality in my pictures goes against the value system suggested by mass media (first of all Internet), and speaks about enhancement of individuals in the relationship. That means my pictures intend to express the happiness of interdependence, of coupling, of the unconditional devotion to the other man, which is in line of some results of positive psychology. (People living in couples are more balanced; the devoted man is happier etc.)
In a strange way, this conception, which might be considered to be old-fashioned at first heard, turned out to have a shocking force in my exhibitions, first of all in the group of those having now the age between 20 and 40, as these ages encountering the visual portrayal of sexuality in a rude and pornographic environment only.
This theme is quite rarely used for visual depiction of emotions.
So, my pictures are shocking while dealing with love, coupling based on mutual respect, togetherness and romanticism by using such a visualization technique which is experienced by people of XXIst century, when a content of very opposite meaning formulated.
People of today come across this subject very rarely or not at all in the context of love, happiness and coupling relationship.
This unilateralism in the field of sexuality does exist in Europeans because of medieval-Christian prohibitions: sexuality can only be shown in evil, coarse and ill relations.
(This thought leads to the interesting statement that rude and ill pornography communicated by nowadays Internet is just the creature of the value system based on Christian prohibitions, which was further amplified by the sexual revolution very often referred to in the late 60es (besides its lots of results), as runaway hedonism of this era resulted in AIDS, which was referred to as an evidence of diabolic sexuality)
My colour management was strongly influenced by colour schemes and colour mixing techniques of digital imaging on 8-bit computers of my childhood, i.e. in the 80es, where narrow palette required taking maximal cognizance of effects to be created from the vibration of clear colours near to each other. This experience coming from my childhood is widely used on my paintings till today.
Starting from this base I detected, as a youngster, the strange atmosphere of luminous billboards in modern cities and of light colours of monitors.
Bright colours of luminous billboards and of monitors create such an impulsive impression, which can hardly be competed with by paints.
Of course, video clips and TV-ads using strong colours, the ad poster illuminated from behind or wallpapers enlightened on a monitor even if having a strong effect, but can be considered as being primitive at the same time. However, because of their quick and light digestibility, they are strong rivals to oil paintings, as those aged now between 20 and 40 have grown up in a world where they were subject to these visual effects nearly each minute.
As a result of this, I created a colour management of my own, based on a long study of effects of additive and subtractive colour mixture.
My paintings tend to reflect the effect of additive colour mixture used by monitors and displays by the individual colour mixing techniques of mine.
I used to go back to impressionists by banning black from my palette, and disappearing white from the colours used by myself. When mixing colours, it is very important to maintain transparency of paints that is why stain techniques have got in the foreground. I seek to have the whiteness of canvas lighting even from behind of most dark tones, and by this, to achieve the effect of lighting ad boards and the reinforcement of colours.
© 2011 Juhász Tibor