(1965, Senta, Yugoslavia)
György VEREBES was born in Senta in Voivodina in 1965. After finishing chemistry technical school in 1985, he became a student of the graphics department at the Hungarian College of Fine Arts. After his graduation in 1989, he stayed on as an artist major getting his degree in 1992. His masters were Károly Raszler and Imre Kocsis. He has been dealing with painting since 1988. He makes illustrations for books, works on stage designs and interior designs. Since 1990 he has been an active musician in several jazz and world music bands as a founding member, pianist and composer also making musical scores for theatre plays. From 1997 to 2003 he worked as the art director of an advertisement graphics studio, and between 1998 and 2002 he was the art director of the Lurdy Gallery. He has been living at the Artist Colony in Szolnok, acting as the art manager of the Colony since 2003. Between 2007 and 2011 he also worked as a teacher at Secondary School of Art and Design in Budapest. Besides his activity as a painter, he regularly publishes articles and essays. He has been a member of the Old Artist Colony Cultural Association of Szentendre since 2011. He regularly participates in art camps in Hungary and abroad. He is a conceptional inventor and founding member of the Szolnok Art Society. In 2013 he was elected member of the executive board of “the Day of Hungarian Painting” Foundation, and later, in 2017 he was elected Chair of the same board. In 2017 he was awarded the Munkácsy Mihály Prize as a recognition of his professional achievement.
The greatest challenge of my painting is to make space seem real and illusional at same time.
Measure is independent in me. The awareness of sight, alertness is dream.
Behind closed eyesthe viewer, the sight, and the subject of the sight are the same.
"The gesture of the painter is but the imprint of the controlled energy floating from the awareness of vision."
These paintings are not portaits at all.They are rather ancient patterns of human states in the conscoius space.
I am only interested in the question of actuality in respect of the moment. Here only can past, and possible be present simultaneously. The rest is beating around the bush.
"Greensoil and cadmium red, golden beige and cobalt indigo, organic and inorganic. Separete the iron from the soil by fire! The alchemy of colours is the awareness of sight. The awareness of sight is the certanity, that does not nees to be proved.
"There is no emotion on these faces, only the inner, timeless smile."
The movement is the struggle of the Motionless.
Musing on the exhibition of György Verebes
”I want to sit and listen, I want to hear the voice of God inside me.”
(Psalm 84/85, 9)
Over the past twenty years we both have been haunted not by the spirit of the same place, but by the same spirits: György Verebes, and I. Therefore I am well aware of the origins of the pictures showing at this exhibition. I am not unfamiliar with the motivations and powers, which led the painter's hands, as he created the colours, the shadows, the outlines of the figures, or – speaking in general – the visual imprints of the real meaning on the canvas. I was only sensing the meaning back than, now I am aware of it.
To be aware of and to sense. These are not contradictional but additional ideas: they complete each other. Because suggestion, which is far beyond sensing, can only be based on a profound, confident, and unambiguous knowledge. This is what Meister Eckhart, a 13th century christian mystic might have referred to in his time. He said: „I catch sight of something, and it flares up in my intellect. I feel that it is good, but I can never understand, what it really is. I only sense, that if I could catch it, I would be aware of the complete truth.”
At the exhibition of György Verebes
/Publised in Magyar Szó in October 2008/
When the light on our forehead and our eyes get tired, when space becomes boundless, when all complete around us crack, we should lift our hands to our face, so light inside us becomes strong, so the pictures open up from the shadow. Mudra, the Sleeping Titans, and the curve of Nyx's slim nack. Our inner lights blaze up, where the proud ego, and the dazzling outer space fade. Our hands are our most faithfull companions. When we get tired, on the seventh day our hands lift us and cover us up. When our hands, feet, and head get heavy, when our eyes get tired, we should stop. We should let the titans, the genesis, and the essence of painting sleep. Let the great canvases at the Zenta exhibition of György Verebes sleep. We should put aside all our notes, and all the pictures we took, find a chair and sit in front of a smaller painting. Nyx. The pink curve of this woman's uncovered neck tells us all about the essence of creation.