The fragmented portraits created by German-Hungarian painter Deenesh Ghyczy hold influence over a style which has been resurfacing again and again in my research. Stumbling upon his work today I felt compelled to include his work as part of my blog.
On his website http://dghyczy.com/ Marc Wellman writes “Deenesh Ghyczy’s way leads to a world beyond the surface, goes to a depth that can explore more on the mental than in the merely visible.”
Ghyczy’s work brings together a feel of Cubisim however, it diverts away from the replication of such a movement. Instead, Ghyczy seems to slow down time in his work, rather than merge alternative viewpoints. Movement is evident, his portraits are not stagnant. They portray a feeling of partially kaleidoscopic frames.
The eye does not settle easily on the subject. Yet, Ghyczy manages to leave the viewer satisfied in knowing that not much more needs to be known about the moment portrayed. There is a starting point and an end, concluding the segment in a delicate manner.
In an interview with Fabian Faltin for Perfect Day Magazine in 2008 http://dghyczy.com/fabian-faltin-/ Ghyczy explains his methods of using optical filters:
“The optical filters had more to do with a general feeling of detachment from reality and also society. A sense of isolation which I wasn’t conscious about either.”
This feeling of detachment is evident in his work. The viewer is left feeling like they’ve just missed a moment or that they had an opportunity to witness the memory of another.
Ghyczy’s method of distortion is influential in it’s ability to alter the view and position when looking at this work, giving a slight disassociation but a gentle intrigue.
Indexhibit (2012) Deenesh Ghyczy, Available at: http://dghyczy.com/ Accessed: (05/01/14)
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