ORELART PARIS Art Contemporain Russe et International

In his project “The story of Judit”, László Fehér presents a subject dear to him: the psychological disorder of his daughter.
The subject is seen through a father’s eyes but also through an artist’s eyes: pain and incomprehension are blended in with the thematic of loneliness, brought out by László in his work. Despite the complexity of this situation, he explores extremely simple and common events and situations.

From the beginning of his artistic career, in the 1970’s, László Fehér manifests a lively interest in photography, which leads him in the choice of his work’s subjects and frames.
His way of painting, using heavy brushstrokes, refers to the torments of human existence. However, the composition remains calm and the colours confer some serenity to the canvas. The black recurring background suggests impenetrable tranquillity and melancholy, and at the same time it visually closes the virtual space of the composition. This is both an object and a wall – a confined surface and an eternal night. Hyperrealistic or « transparent », his characters all appear infinitely lonely, lost and halting, as if they were alienated by the surrounding world. His characters relate to the viewer and carry within them a story. They are fragile and lascivious (Judit in red armchair), conveying their pathos through a silent protest.
The artist looks for inviting the universal anxiety, the irrevocable despair and the modern Man’s isolation through the representation of his young daughter Judit.
The posing of this subject is much more complex and complicated than it might appear at first sight. The series presents various events and situations: Judit at the bus stop, in a red armchair, lying on the floor, in sunglasses, with cut up and outstretched arms or talking on the phone... Extremely simple and natural events, they don’t aim to be deliberate or didactic. Judit’s look is sometimes aimed directly to the spectator and questions him (Judit with arms hold up). In other paintings, Judit seems on the contrary uncommunicative, her look is away (Judit with pills) or hidden behind sunglasses (Judit with sunglasses), and the spectator must search inherent questions by himself. In the work The Courtyard of the psychiatric clinic from Judit's window, the young girl disappears from the picture, revealing the view from her hospital room, inverting thereby the position viewer/ viewed.

László Fehér’s paintings present a condition by way of this, which can be understood in terms of an individual, a family, a nation and the world. Illness is personal and yet can be experienced by everyone, because human suffering carries the individual away, which can happen to anyone. The individual is helpless, and can only define their place and the quality of their condition in relation to truth; this truth which the artist tries to reveal in this project.