We may not be able to fully understand or decode the seemingly idyllic landscapes of the painter, but we can learn to appreciate them as something that is never completely translatable, but accessible enough to feel connected to it. We observe in Huszank's paintings the beauty of nature, its power, but we see it in a version that can leave us doubting. And we have to accept the inner conflicts of the geography of an idyll, as well as the inherent complexities of our own needs, desires, and fears. Huszank's paintings show us that landscape is essentially a state – and primarily a state within us. And we recognize that all of us carry an image of nature as an archaic system of immensity and unknowability. It is a joyful moment in which artist and spectator encounter each other in these landscapes. © Elisabeth Mehrl

The longer one's gaze lingers on one of Szilard Huszank's (1980, Miskolc/Hungary) landscape paintings, the more details come to irritate one's thinking about the way we conceive of "landscape“. What we see are not representations of a certain geographical area, which by various characteristics distinguishes itself from other regions. Rather, his paintings are collages, compositions made up of elements that have no regional or biological connection whatsoever (such as his blooming cherry blossoms – heralds of spring – placed next to luscious, summery green). Szilard Huszank composes according to aesthetic criteria, not along lines of "content“. Thus, he opens up new possibilities in his search for artistic solutions. © Silke Eikermann-Moseberg


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