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.
(Roberta
Lord)
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