Csilla Szilágyi’s and Tamás Herczeg’s installation operates with aesthetics that are stretched by the contrast in his use of materials. Szilágyi’s symmetrically structured glass-concrete sculpture, which follows a triangular grid structure, combines the elegance of transparent and airy glass with the brittleness and solid, block-like character of concrete. Tamás Herczeg’s solution to project a laser animation onto the sculpture placed on the plinth is a way of initiating a peculiar dialogue. The space-altering play of light makes the elements that the work is composed of translucent, with the corporeal becoming immaterial, and the static becoming dynamic. As a result of the controlled shaping of the surface, the sculpture begins to float in space like a fractal-geometric kaleidoscope evoking the radiant richness of colour and form of Gothic stained-glass windows, while the filigree patterns of the projection organized from the rays of light filtering through the sculpture’s body are intersected like interstellar cells in the body of the wall behind it. The virtual presence of the sculpture creates an enigmatic light environment whose spirituality, conveying the mystery of light, evokes both the organicity of abstract photograms of plant vegetation and the biomorphic geometry of cellular lattices observed under a microscope. Thanks to the installation’s particular layering, the rigor of form-building using concrete-kinetic gestural language and the spontaneity of self-motivated, fluid patterns enter into a symbiotic relationship.

Glass sculptor Csilla Szilágyi (1978, Nagykanizsa) and light technician Tamás Herczeg (1973, Orosháza) have been exhibiting their light art together for years, both in solo and group exhibitions. The main concept in Szilágyi’s art is the dialogue between the structured geometry of the sculpture and the stylized character of the patterned surfaces, which he tries to express by combining two materials with different structures, glass, and concrete. His Transfuse series, made in 2006 as a diploma thesis at the Moholy-Nagy University of Art and Design (MOME), is based on this idea. However, by using light, Szilágyi’s sculptures take on a new function and purpose, placing the man-made environment, and its forms taken from nature, as well as its biotechnical determination at the center of his study, while at the same time revealing the possibility to construct transcendental spaces.