“I portray everyday scenes that almost everyone experiences and which can be found in everyone’s photo albums, but with different people.”
“I need picture to be understandable as an abstract image and separate visual experience, independently from its narrative as well as the narratives to be made up of easily recognizable and remarkable visual forms. I’m not trying to draw attention to anything specific, my works are only a reminder that we all live through very similar experiences.”
Kata chooses simple, mundane scenes as the focus of her works, moments that anyone, anywhere could be a witness or a part of, living through them. These moments are experienced differently by different persons, individuals and souls, as they are connected to these similar events by differing experiences and emotions. The painted image itself triggers different feelings from everyone, as they project their own experiences and private life-events onto the depicted scene.
In her scenes the story receives the more emphasized role, she bases her work on actual events. However, she keeps the visual expression more open for individual emotions. Thus everyone can mentally substitute the missing elements of the image according to their own memories and feelings.
Kata often uses her own photographs as a basis for her paintings in progress, she abstracts the different scenes when she emphasizes certain elements important to her. In cases when she highlights details of already existing pictures or assembles the elements of other images onto that particular painting, the process usually requires a new form as well. She almost always diverts from the actual size of the original image, usually from its format as well.
Mundane moments, “disappearing” scenes, such as the everyday events of rural life are seized for the future, changing world. These are among others the already rare sight of a grandma feeding chicken or herding pigs, the figure of an elderly lady wearing a nylon home-gown leaving for grocery shopping with the aid of a bike, the grocery store, the liquor store, the couple dibbling plants in sweatpants (who could also be the modern adaptation of Jean-François Millet’s ‘Potato Planters’ from 1861-62). Kata creates archives for people living in the metropolis by preparing an imprint of the era of the Hungarian countryside, which fix easily understandable circumstances and sometimes grotesque situations by way of bright and simple colors and shapes.
observes and shooters Series
In the 21st century museums need to adopt a modern, interactive and inclusive attitude and they must become institutions that not only provide visitors with visual impressions, but also with an opportunity for them to enrich their knowledge. The starting points of Kata’s paintings are the simple, frequent scenes of life of museums where visitors gather around the exhibited artworks, while admiring and interpreting them. Later on in the progress of creation the artist became interested in adapting widely known and famous paintings (such as Lucian Freud’s Benefits Supervisor Sleeping from 1995, Andy Warhol’s Flowers from 1964, his work Marilyn Monroe from 1967 and the Mao Ce-tung series from 1970, Edward Munch’s The Scream from 1893) into her own unique style, which are then observed by the people appearing on the pictures. The member of the audience wearing headphones of audioguides become real observers of the paintings.
party time- last night series
The oversexualized “PARTY TIME” and “LAST NIGHT” series seize the wild moments of the night in the form of ephemeral memory-fragments of party-goers and “party-faces” who often hardly or not at all remember the past night’s events amid the metropolitan party-life’s cool atmosphere.
She is interested in the everyday life and experiences of wide layers of society, while depicting stories and activities that she deems to be thought-provoking or worthy of highlighting certain features or parts thereof.
Archival pigment print on Hahnemühle Photo Rag® Baryta (315 gsm · 100% cotton · white high-gloss) paper. Signed, dated and numbered by the artist.
20.0 × 20.0 cm | 7.9 x 7.9 inch (image size) 36.0 × 36.0 cm | 14.2 x 14.2 inch (framed size)
Edition of 30
This is part of a limited edition set.
KATA BERECZKI BIO (b.1980)
2019 | Tales of My Life, Deák Palace, Budapest, Hungary
2018 | Section, Hal Köz Gallery, Debrecen, Hungary
2017 | Castle Museum, Simontornya, Hungary
2016 | Faceless Moments, Kubik, Budapest, Hungary
2016 | Kindl Kupola Gallery, Tamási, Hungary
2015 | Conservation, “Old School” Recreation Building and Library, Nagykovácsi, Hungary
2012 | Berlinspirations, Műterem Gallery, Debrecen, Hungary
2012 | Light-Thread-Figure, MONO Gallery, Budapest
2011 | Erika Redei Gallery, Szentendre, Hungary
2011 | Bistro Déryné, Budapest, Hungary
2010 | Zsófi Faur Gallery, Budapest, Hungary
2010 | Watch the birdy, Alkoholos Filc Café, Budapest, Hungary
2018 | XVI. Nagykovácsi Art Meetup, “Old School” Recreation Building and Library, Nagykovacsi, Hungary
2017 | XY ‒ New Generation Polish-Hungarian Painting, MODEM Modern and Contemporary Arts Centre, Debrecen, Hungary
2015 | Picture of Sound, Hermina Gallery, Budapest, Hungary
2015 | Contemporaries: Collectors and Artists, New Budapest Gallery, Budapest, Hungary
2015 | Selection of the Völgyi-Skonda Contemporary Art Collection, The Town Concert and Exhibition Hall, Zalaegerszeg, Hungary
2013 | Creative Transgressions, Béla Löffler Museum, Kosice, Slovakia
2012 | “Go out”, Selection of the Völgyi-Skonda Contemporary Art Collection, Judit Virág Gallery, Budapest, Hungary
2012 | Group Exhibition of the UniCredit Talent Program, Dorottya Gallery, Budapest, Hungary
2011 | Fundamenta Amadeus Scholarship Exhibition, Barcsay Hall, Hungarian University of Fine Arts, Budapest, Hungary
2011 | Hungarian Beauty, Gozsdu Courtyard, Budapest, Hungary
2010 | K&H Art Collection Exhibition, KOGART House, Budapest, Hungary
2010 | Ari Kupsus Gallery, Budapest, Hungary
2010 | Fundamenta Amadeus Scholarship Exhibition, Barcsay Hall, Hungarian University of Fine Arts, Budapest, Hungary
2010 | Light by Night, Gozsdu Courtyard, Budapest, Hungary
2010 | Parallels - Slovakian-Hungarian Exhibition, Barcsay Hall, Hungarian University of Fine Arts, Budapest, Hungary
2009 | „To be continued...”, Budapest Gallery Hall, the Exhibition House in Lajos Street, Budapest, Hungary
2009 | Fundamenta Amadeus Scholarship Exhibition, Barcsay Hall, Hungarian University of Fine Arts, Budapest, Hungary
2008 | Fictive, Epreskert, Kálvária, Budapest, Hungary
2008 | First Small Hungarian Metro Biennale, Artpool P60 Gallery, Budapest, Hungary
2007 | Noah's Ark, Akademie der Bildenden Künste, Nürnberg, Germany
2006 | Town Library, Szentendre, Hungary
2006 | “Rail.Way”, Music Factory, Budapest, Hungary
2005 | It’s Not Allowed, Meander Gallery, Budapest, Hungary
2004 | Happy, ArtMill, Ferenczy Museum Centre, Szentendre, Hungary
2018 | Art Market Budapest, Hungary
2013 | Art Catania, Italy
2012 | Art Market Budapest, Hungary
2010 | Art Market Budapest, Hungary
2012 | UniCredit Talent Program Scholarship
2011 | E.ON Hungária Scholarship, Berlin, Germany
2011 | Amadeus Scholarship
2010 | Amadeus Award of the Art Collectors' Club and the Amadeus Foundation
2010 | Amadeus Scholarship
2010 | Jari Vilén Prize, Ari Kupsus Gallery
Works in Collections
E.ON Hungária Ltd.
K&H Bank Ltd.
Völgyi-Skonda Contemporary Art Collection
LAVOR Collective Art Collection
”Hamu és Gyémánt” (Ashes and Diamonds) Magazine
2006-2011 | Hungarian University of Fine Arts, Painting Department, Budapest, Hungary - Masters: Dóra Maurer, Eszter Radák
2005-2006 | University of Pécs, Institute of Fine Arts, Painting Department, Pécs, Hungary - Master: László Valkó
2003-2005 | Secondary School of Fine Arts in Óbuda, Painting, Budapest, Hungary - Masters: Gábor Roskó, József Baksai