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Hungarian

“Erdei’s painting depicts a society of quarantined people where no one communicates and all live within their isolated shell. Some are stronger, some weaker, some self-assured, others lost, but none are capable of developing beyond their protective environment. From an orifice to a brain to a predator with nothing but teeth, each figure has become synonymous with his/her function. Like the frightened child whose crash helmet has become a prison, we have lost the essence of life in their attempt to ensure a ‘risk-free’ existence.”

Winston Rory

Exhibition criticism 2016. — One factor several components

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“Behind the quote of Gabriel García Márquez’ One Hundred Years of Solitude “[…]sees nobody there[…]” Adrienn Erdei belongs to a
generation of artists who emerged in the 2010s exposed to the contemporary art trend as well as to the Minimalism and Pop art and
to the earlier models such as Surrealism and Expressionism were—and who experimented with tremendous new modes of the
pictorial execution. In her inventive artistic environment, Erdei gained distinction by using boldly inventive forms and vivid objects
and occurrences from everyday life. As we could say Erdei reshapes the Realism of the 20. Ct, the Surrealism and Abstraction into a
high-spirited painting based language of form whose subjects included domestic life, relationships and the nature of painting itself.
Adrienn Erdei’s approach to her paintings is not a fashionable iconoclastic breaking with the idea that a painting or print is a twodimensional
object representing a single point of view. Her compositions are rarely dynamic but witty and emotional, her
professional inspiration have been arrived from diverse sources ranging from Hungarian masters Szinyei-Merse, Karoly Ferenczy to
the poetic imagery of Peter Greenaway, Michaël Borremans, to the painters of the disembodied images and embodied mind as Gábor
Lajta, István Nyári, Lóránt Méhes, Gyula Konkoly, Claudia Tamás or Ábel Szabó Ábel and Attila Adorján.”

Tamás Aknai

Exhibition criticism 2016. — […]is seeing there nobody[…]

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