Dénesh Ghyczy is a German painter with Hungarian origins who filters reality to create a special world of imagery. Dissolving figures and blurred landscapes meet in frozen moments. Last year we published a short article about him and now we have the possibility to ask him to tell us a bit more detailed about his works and his methods.
COR: You come from a creative family. Your father is a well known industrial designer in Holland. Did this affect you? How did you start your art?
Denesh Ghyczy: The environment I grew up in was artistic but also classical. My parents inherited a castle in the southern part of the Netherlands. They filled it with modern art and the designs of my father. Later more and more antique art was collected, there was no need for contemporary art because I supplied them with plenty. For me it was clear from very early on that I wanted to be an artist and luckily my parents supported my decision.
COR: What are your idols, inspirations?
Dénesh Ghyczy: As a teenager I was inspired by the reappearance of expressionistic painting in the eighties. Mainly its German representatives, like Gerhard Richter, Anselm Kiefer and Markus Lüpertz. Nowadays it’s more contemporary colleagues from my generation, like Alexander Tinei, Wilhelm Sasnal, Caroline Walker, to name a few. My inspiration is the large field of painting itself.
COR: Could you tell us more about your earlier artistic phases?
Dénesh Ghyczy: I started of in an expressionistic way, focusing on the human body. Later I wanted to bring more distance between the viewer and the depicted. That is when I started to use glass as a filter. I realised only afterwards that it was also related my own feeling of being kind of an outsider while living in Hungary around the millennium. Seeing the world through a window, not fully interacting.
COR: You think it is good to constantly change the perspective on reality? Some artist’s programs are using pretty much the same recognizable methods.
Dénesh Ghyczy: I think it’s good to have an own style, an own artistic language. But when your life and surrounding changes, why shouldn’t also your method change? And I’m not the type of artist who paints after the same recipe. I would get bored if I repeat myself. I see my work as an evolution. Some ideas continue to develop while others end after a while.
COR: How do you place your figures in relation to time and space? How do you pair them together? Are these subconscious moves or are you aware and conscious about it?
Dénesh Ghyczy: While I always try to be conscious about the things I do, there are certain elements to my work that are based on intuition or coincidence. I think these two things have to be in balance, thinking and feeling. But to be more concrete, my aim is universal. I’m not commenting directly on the time we live in, I’m looking for timeless beauty in loneliness, melancholy and desire.
COR: What is your current flow? Tell us a bit more what you are working on at the moment?
Dénesh Ghyczy: I’m working on a series of large canvases depicting interiors flooded with light. On picture-based social media, like Instagram, I see a lot of images of places and spaces that evoke a certain longing. Maybe there is a kind of escapism, typical of our times of uncertainty. I’m interested in this feeling of longing and what it represents.
COR: Any yet unrealized dreams?
Dénesh Ghyczy: Of course. I’m thankful for all the success I’ve had lately but it has mainly been with solo gallery shows. It would be great to be in a curated institutional show with colleagues I admire. But something is being planned and hopefully, it will be realized.