Ágnes Hincz's Drawings

Balázs Faa, 2002

• My first impression in connection with the drawings was "unexpected".
• They are both calculated and free.
• They are two, or rather, one dimensional from a theoretical point of view

It is probably not nice to begin an introduction to my drawings with a personal comment. My first impression in connection with the drawings was "unexpected". I expected something else. This impression in itself wouldn't be worth mentioning had it not been intense! I expected something very different, and I don't think I am the only one.

After the initial surprise I took a closer, more thorough look at the drawings. I wanted to know how they worked. They are both calculated and free. Each drawing is evident proof of a strict plan, that their creator consciously started, developed, and completed them. There is no trace of the simplest correction or unsureness. Freedom alone links them. But how can someone (how can it occur to someone) to make so many different drawings with such a strictly calculated method?

And so many of them. The work title "recent drawings" refers to nearly a hundred drawings. made over the course of the past one and a half years. But does this unbelievable quantity raise or lower their value? Would it be wise to show only two or three pieces at once in order the public could have adequate time to digest them? Anyway, if we made a statistical average of the time of attention paid by the artist to one single drawing we would find less than two days per drawing. Is their creation a result of deep meditation? The only answer I could draw from Ágnes is that she generally works simultaneously on many drawings. But she is reluctant to give any further information straight out, even my questions were not like those of a reporter (Do you "struggle" with drawings?), nor like those of an art historian (Is drawing for you a personal attitude or is it a nostalgia?). She refuses to reveal anything, and it seems, there might not be anything to reveal.

Literally, there is nothing to say about these drawings. There is nothing "behind" them they are just here to be looked at. There is nothing to be found out about them they don't offer a space for meditation. They are two, or rather, one dimensional from a theoretical point of view, let alone the total absence of the postmodern quotation marks.

What cannot be said should be kept in silence. These drawings are only for the eyes. What a better reason to go and see an exhibition?

If you could not enlarge the images, see them here:
hincz33z.jpg | hincz38z.jpg | hincz55z.jpg | hincz81z.jpg | hincz60z.jpg | hincz30z.jpg | hincz19z.jpg