In Halász’s works, it has become conventional to find layers of meaning that are at first glance astonishing, yet at the same time surprisingly logical in relation to one another. His pieces explore ecological, social and economic issues, and his art is characterised by engineering precision and an unconventional use of materials. The installation “The Sun is the Father” suggests a more nuanced and generalised approach to the often analysed phenomenon of father-son relationships. The antler on the black triangle base and the cube mounted between its beams, shocking the viewer with a powerful attack of light, evoke the conflicted relationship between the victim and the aggressor in metaphorical fashion. Beyond depicting physical reality, the works of Péter Tamás Halász also confront us with illusory reality.

Utopias and ideals, dreams and traumas are uniquely expressed in these special works of art.

Péter Tamás Halász graduated in painting from the Hungarian University of Fine Arts in 1998 as a student of Dóra Maurer, but even while at the university, he did not treat his paintings as surfaces to be filled with colours and shapes, but for the most part as objects.

He creates and exhibits objects and installations, but these often also have the characteristics of panel paintings. His works are three-dimensional, yet not sculptural, concerned not only with material, form, proportion and texture, but often with scientific ideas and problems. Among other things, Halász deals with the issue of how far the critical utopias of late modernity have remained utopias in art, and what of their formal characteristics and visuality has been realised and lives on in some form or other.

For Tamás, the critical approach has been present from the very beginning. At first instinctively and partly directed at the medium, it slowly began to focus on a single great problem, which as a consequence merged with all other political and social aspects.