Orosz uses architecture as a metaphor for mental framework. Bafflement in architecture = bafflement in perception and thus in understanding. Classical forms stand in as a kind of alphabet, but the words and sentences composed from this alphabet twist around and negate themselves in the vertigo-including manner of a Moebius strip. They are symbolic representations of contemporary episodes of displacement, like those in plays by Samuel Beckett. Orosz fragments the border between reality and hallucination, wakefulness and dreaming. Lovely icons of the Golden Age are depicted in ruins, their parts misaligned. It is as if the artist has pressed, like a flower, the physical world from three to two dimensions, and in the process, parts have unattached and then reattached strangely. The jolt of the “mistake” – in the image and in the viewer’s perception – is always there. Look again and there it is again. The eye perceives, the brain registers, the nerves lurch. Every time.