The start of Attila Koppány’s art career was the most powerfully affected by architectural and natural-scientific reasoning, which has led to formation of a special language based on peculiar principles in his painting and drawing activity as well. Its main elements are the line, the plane, the form reduced to outlines and its rich and rampant details as well as the colour, but what is even more important, building pictures from coloured planes and abstracted natural motifs in a rational or even tectonic way, as the result of which, despite the lyrical choice of colours and visionary representation, the essential connection of mapped forms with reality: their real scale relations and proportions and the treatment of forms evoking the inner motion of nature.
This might be the very explanation of why at first the individual view and expression was realized in organic formations in his art, and the crystalline structures appeared only much later, leading to the adaptation of pictorial elements to a more complex system and the potential to express universal contents as a new phase of abstraction.
In the beginning, his method of creating pictures, conveying the idea of struggle of external and internal forces was dominated by decomposition, deconstruction, then by stretching them against one another, connecting the deconstructed elements to form a motif, a vehicle for the new message; by the demand for showing the fragments as a whole, as well as the according dual concept of form: representation of a nuanced world hidden in a powerful linear structure.
In his works the mark and the marked have interchanged, the organic element changing into a geometric mark or system of marks resembling gestures, whereas the earlier flat background into elements of a landscape, full of organic associations, lively pulsating cells and tissues.
Monumentality of the pictures has stabilized, beginning with the interchange of the two main compositional elements and their proportions.
Attila Koppány’s present-day art is characterized by free penetrability of dimensions into one another, transparency of forms, exemplary formulation of the relations between them, reduced to elementary forms and contrasts, internal presentation of the essence of things.
His pictorial world has widened by representing natural and other kinds of disasters, a great many form combinations summarizing elemental experiences of landscape and emphasizing microscopic details. His use of colours has brightened, the light having more and more important part in his creations.
His frequent themes include representation of towns, profound analysis of the connection of natural and built environment, reinforcement of their harmony or dissonance, emblematic simplicity, search for order in a chaotic world.
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