To Tarkovsky with love.
Oil on canvas.
W 100 x H 100 x D 3.2 cm.
Oil on Italian linen canvas.
W 135 x H 155 x D 2.2 cm.
There are 3 layers of reality in the painting. The first is represented by the cloaked self in the foreground, as the outermost manifestation in the tangible, physical reality. It’s a moment after a meditation sitting under the Quercus, bringing back a faint trace of silence and vastness. The second level is manifesting in the oak tree, a beautiful being connecting in one flow the lower, middle and upper worlds in a deeply silent alchemy of mixing water and light, fully immersed in the outward service of the Earth. A true landlord. The third layer manifests itself in the white sky background that covers all and penetrates all, representing the ultimate focus and source. As a matter of fact a 4th layer is present as well, connecting all three, namely the actual red background illuminating through everything, forming the true fabric of reality. It’s the all encompassing field that penetrates through in every moment.
Oil on canvas. W 155 x H 135 x D 2.2 cm.
The coordinate system of the bathroom tile leads the structure from deep above into a diagonal uprising of the body. The gaze points upwards, being pulled back in an integrated dark hair and shadows. There are two levels of bathroom sinks, one that fills the bath tub and hence closest to the body and one, above the head and pulling upwards. Holding the potential to pour water on another plane of awareness. The ring shaped bath towel holder draws the attention and energies something into focus. Rising consciousness from the bathwater through a state of bliss. The body is most beautiful. Being part of a huge being, just imagine, imagine yourself as being a liver cell in a being, what would be your relationship to the owner of the liver, who would you be for her or she for you? Being apart by so many scales what could be a better way of connecting than through a wave of involuntary muscle contractions and bliss and energy flowing as pure love into ecstasy? As a cell I would contain everything that this being is about. We are one in this bliss.
Variation on a Rembrandt self portrait with 108 circloids and a triangle.
Oil on canvas, W 160 x H 160 x D 2.2 cm.
Las Meninas (La Familia) - after Velázquez II.
Oil on canvas, W 135 x H 155 x D 2.2 cm.
Applying a suitable Lorentz transformation for spacetime coordinates, subsequent events in one coordinate system can correspond to simultaneous events in another one or vice versa. What we live as a linear happening of subsequent events, our life let’s say, it can equally be just part of a timeless (~ simultaneous) being. Self definition casts a shadow of thriving, achieving, goal setting and reaching something. Observing the process of enfolding on the other hand pushes through nothingness so that only what is being, remains. Standing with Velázquez in a simultaneous moment of the illusion of spacetime and selfhood, I surrender to the fire of love that manifests as close as you can be blind of.
After Velázquez.
Oil on canvas, W 160 x H 160 x D 2.2 cm.
“The small vessel around which the Infanta's fingers are forever suspended - either on the verge of grabbing or releasing - is known as a 'búcaro': an earthenware water jug much in vogue among the Spanish elite in the seventeenth century. Imported variously from Portugal and Latin America, these red clay pitchers were fragranced with spices when kilned in order to infuse the water they held with a delicate flavour. But if that was the búcaro's outward function, it also held a rather curious inner secret. Spanish women, wishing to lighten their complexions, would nibble the vessel's rims, ingesting small chunks of the red clay. Some ate the whole jug. While there is some evidence that eating the pottery would have the desired effect (and some undesired ones, too, including altering a woman's menstrual cycle), there is also testimony that the act of geophagy (or 'earth eating') was hallucinogenic and induced euphoria and lightheadedness. The Spanish poet and contemporary of Velázquez, Lope de Vega, crystallized the effect in a famous lyric: Niña de color quebrado / O tienes amores o comes barro ("Girl of sallow colour, you're either in love or you eat clay').”
Oil on Belgian linen canvas.
W 100 x H 100 x D 3.2 cm.
it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation it’s all a simulation. it’s all a simulation.
Oil on Belgian linen.
W 70 x H 70 x D 2.2 cm.
10 July 1856 - 7 January 1943
Nikola Tesla was a Serbian-American inventor, electrical engineer, mechanical engineer, and futurist who is best known for his contributions to the design of the modern alternating current electricity supply system.
“I hold that space cannot be curved, for the simple reason that it can have no properties. It might as well be said that God has properties. He has not, but only attributes and these are of our own making. Of properties we can only speak when dealing with matter filling the space. To say that in the presence of large bodies space becomes curved is equivalent to stating that something can act upon nothing. I, for one, refuse to subscribe to such a view.” Tesla claimed to have developed his own physical principle regarding matter and energy that he started working on in 1892, and in 1937, at age 81, claimed in a letter to have completed a "dynamic theory of gravity" that "[would] put an end to idle speculations and false conceptions, as that of curved space". He stated that the theory was "worked out in all details" and that he hoped to soon give it to the world. Further elucidation of his theory was never found in his writings.
Tesla specifically calls out Einstein: "Now a long haired crank, Einstein by name, puts on your high teaching all the blame." In 1935 in comments to The New York Times, Tesla was critical of Einstein stating that his theory of relativity was "like a beggar clothed in purple, whom ignorant people take for a king."
“Peace can only come as a natural consequence of universal enlightenment and merging of races, and we are still far from this blissful realisation.”
The Lizard Girl’s Quantum Superposition in the Red Bathroom.
Oil on Belgian linen canvas.
W 70 x H 70 x D 2.2 cm.
Oração de São Francisco
Senhor, fazei-me instrumento de vossa paz
Onde houver ódio, que eu leve o amor
Onde houver ofensa, que eu leve o perdão
Onde houver discórdia, que eu leve a união
Onde houver dúvida, que eu leve a fé
Onde houver erro, que eu leve a verdade
Onde houver desespero, que eu leve a esperança
Onde houver tristeza, que eu leve a alegria
Onde houver trevas, que eu leve a luz
Oh, mestre, fazei que eu procure mais consolar do que ser consolado
Compreender que ser compreendido
Amar que ser amado
Pois é dando que se recebe
É perdoando que se é perdoado
E é morrendo que se vive
Para a vida eterna
Senhor, fazei-me instrumento de vossa paz
Onde ouver ódio, que eu leve o amor
Onde houver ofensa que eu leve o perdão
Onde houver discórdia, que eu leve a união
Onde houver dúvida, que eu leve a fé
Onde houver erro, que eu leve a verdade
Onde houver desespero, que eu leve a esperança
Onde houver tristeza, que eu leve a alegria
Onde houver trevas, que eu leve a luz
Oh, mestre, fazei que eu procure mais consolar que ser consolado
Compreender que ser compreendido
Amar que ser amado
Pois é dando que se recebe
É perdoando que se é perdoado
E é morrendo que se vive
Para a vida eterna
Oh, mestre, fazei com que eu procure mais consolar do que ser consolado
Compreender que ser compreendido
Amar que ser amado
Pois é dando que se recebe
É perdoando que se é perdoado
E é morrendo que se vive
Para a vida eterna
Oil on Belgian linen canvas.
W 70 x H 70 x D 2.2 cm.
“I was really afraid to paint from inner vision only, I tried, Paul stressed me as well, but I was never satisfied, I always had to control with my intellect how and what I painted. I was bowing at the altar of alcohol as well, my wildness never found balance. I realised I need to balance these forces in me. I asked for being alone and yet I had a hard time to bear it. This time I know so deeply, I need to paint from my being alone, non objectively, channeling from utter freedom. I paint with left hand to help the process. I’m still afraid of my full blown visions, and letting go and surrender, it’s still a big fight to awaken, but this time I will make history by touching millions of souls with love and transformation.” Contemplation letters about being VvG.
Oil on Belgian linen canvas.
W 70 x H 70 x D 2.2 cm.
On Tesla's 75th birthday in 1931 he was featured on the cover of Time magazine. The magazine requested comments from his peers and Einstein politely responded with: “As an eminent pioneer in the realm of high frequency currents… I congratulate you on the great successes of your life’s work.” Also there is an urban legend that when Einstein was asked how it felt to be the smartest man on Earth, Einstein replied, "I wouldn't know. Ask Nikola Tesla". Tesla, like Thomas Edison, didn’t understand Einstein’s theory of relativity. In May 1931, Tesla said the following on Einstein’s theory of relativity: “What is “thought” in relativity, for example, is not science, but some kind of metaphysics based on abstract mathematical principles and conceptions which will be forever incomprehensible to beings like ourselves whose whole knowledge is derived from a three-dimensional world.” Circa 1930, Tesla wrote a poem for his friend George Sylvester Viereck in which he muses about science.
One stanza addresses Newton and contains these lines: “Too bad, Sir Isaac, they dimmed your renown
And turned your great science upside down.
Now a long-haired crank, Einstein by name,
Puts on your high teaching all the blame.
Says: matter and force are transmutable
And wrong the laws you thought immutable.”
Oil on Italian linen canvas.
W 160 x H 160 x D 2.2 cm.
When did you realise that no one knows? Surely we all started off such that my father knows, my mother definitely, my grandparents, oh yes they know so well. My brother knows and my uncles. They know. Then ok maybe the school teacher knows really well. And the university professor, she knows. My lover knows, yes, she must know. My friends, they all know. My colleagues, the clever ones, yes they must know. The book writers must know, the authors, and the famous artists, they must know, mustn’t they? When was the time you realised, no one knows? Now I ask you to take off your clothes. Lay down in this sea of white bubbles, just gently let all this go. Let me stroke you gently, in the silence of your elevated gasping. Involuntary muscle contractions take over your body. Waves of upward tremor, spasms. Let it be, withdraw in it. No forcing, no achievement, just the waves. I watch you, as much as you watch me. I observe you and my observing of you. The viewer is viewed in this very viewment. Click.
The Black Panther, on the Moon Titan, dreams about becoming Human living in Beak Street W1 London.
Oil on Italian linen canvas. W 80 x H 60 x D 2.2 cm.
From the Message series.
Oil on Italian linen canvas. W 80 x H 60 x D 2.2 cm.
Let’s focus on the big picture and sport a celestial view.
From the Message series.
Oil on Italian linen canvas, W 80 x H 60 x D 2 cm.
There is a war on ego in spiritual circles in recent times. Still I would be very careful with jumping to conclusions too fast and set against something else. Garbage is piled upon layer by layer, our very feet stands upon it. Leave behind the old age, let it be closed. Just sit with my ego, in silence or in conversation, playing the many pre recorded tapes and listening together. Oh it’s the ultimate freedom, and stories upon stories I tell about everything. How should I become who I am already if I cannot even bare my own ego :-) ? The cranes are lifting to the sky. It’s all under construction all the time. It’s messy and full of garbage. Just sit under the tree and bare with it. Namaste and love ❤️🙏 maybe we are all one ;-) .
From the Message series.
Oil on Italian linen canvas. W 80 x H 60 x D 2.2 cm.
We all have our little personalities in our heads, that are triggered in different situations and play out like a pre recorded tape. How many times we catch ourselves in reacting the same way, or saying certain things, or doing certain things following the same patterns. We tend to think ourselves as individuals, as some-one. But in fact we are an intricate network of these personality processes that play out automatically. If we look closely into these processes, the illusionary some-one, the individual is hardly found anywhere. There is an emergent being here that I experience as being myself that satisfies properties and has qualities that its underlying processes do not have individually.
For every dollar we invest in AI, it would be wise to invest a dollar in advancing human consciousness. From the Message series.
Oil on Italian linen canvas. W 80 x H 60 x D 2.2 cm
“Unfortunately, at present we are not doing much to research and develop human consciousness. We are researching and developing human abilities mainly according to the immediate needs of the economic and political system, rather than according to our own long-term needs as conscious beings. My boss wants me to answer emails as quickly as possible, but he has little interest in my ability to taste and appreciate the food I am eating. Consequently, I check my emails even during meals, while losing the ability to pay attention to my own sensations. The economic system pressures me to expand and diversify my investment portfolio, but it gives me zero incentives to expand and diversify my compassion. So I strive to understand the mysteries of the stock exchange, while making far less effort to understand the deep causes of suffering. We are now creating tame humans that produce enormous amounts of data and function as very efficient chips in a huge data-processing mechanism, but these data-cows hardly maximise the human potential. Indeed we have no idea what the full human potential is, because we know so little about the human mind. And yet we hardly invest much in exploring the human mind, and instead focus on increasing the speed of our Internet connections and the efficiency of our Big Data algorithms. If we are not careful, we will end up with downgraded humans misusing upgraded computers to wreak havoc on themselves and on the world.”-Harari.
From the Dating my Dreams series.
Oil on Belgian linen canvas. W 100 x H 100 x D 3.2 cm.
In recent weeks I ran into many many unexpected obstructions, many of them actually quite impossible. Most of these obstructions are serious blockers to what I am doing and I have to find detours and am stalled for long periods of time. I need to change plans very radically and leave behind certain things that I do not intend to leave behind. I am very much perplexed and try to get to the bottom of this.
This came in meditation as a vision: I was invited by myself to come to this world, but when I arrived at the place and time there was a very small door in a very big wall. This is where my path led to. But I was too big to go through this door. We tried many things, putting and rotating my legs, leaning forward, speaking through the door, but nothing worked. I had to realise that this small door had stopped me and now I have great difficulties with actually arriving at the destination.
From the Algorithm series. Iteration 16.
Oil on cradled Belle Arti wood panel. W 50 x H 70 x D 3.8 cm.
Inspired by endless repetitions of autocatalytic processes in nature, in this series I set up a self sustaining system consisting of a creation, destruction and maintenance process. In the creation process I paint a portrait on a wood panel on top of the result of the previous iterations that I scrape down in the destruction process, while in maintenance I use the scraped down paint and put it onto another wood panel. I execute the iterations over and over again for several weeks. All creations vanish by destruction, all destructions vanish by creation, while maintenance keeps all the memories. There is emerging an entity here that has qualities and properties that its constituent processes do not have individually.
From the at Home series.
Oil on canvas. W 70 x H 100 cm.
This painting is about our very immaterial experience of being at home. We left our home country Hungary in 2006 and moved to Saarbruecken Germany. We lived there for 8 months and then moved to Berlin Germany. There I have had my first son born, moving from flat to flat in every 9-12 months. After 3 years we moved to Amsterdam, where we lived for one year. Then again back to Berlin for another 3 years. Then we moved to Bangkok and lived there for 2 years, where my second son was born, after that moved to Singapore for 1 year and then to London where we live since the Summer of 2017. We had so many flats, homes, home cities, home countries and even continents that mix together into an experience of being home that is utterly non physical and non tangible. Where is our real home, where is that place, and house, and door, and door number, and doorbell and the bricks in the wall? It’s all a memory and a call at the same time. We are all going home, every one of us, all the time. We have learned being at home in this going home.
From the Algorithm series. Iteration 15.
Oil on cradled Belle Arti wood panel.
W 50 x H 70 x D 3.8 cm.
Creation, Destruction & Maintenance. The zoom into lower scales continues, it’s a dissection of inner image, state, external materialisation. How to arrive from inside to the outside? I need to materialise a connection between the inner spirit and the outer world to establish a flow...I am a taxi driver between the two...it doesn’t matter if the taxi is not realistic and square and perspectivic as long as I am very very familiar of how to drive it and effectively be able to transport Spirit from there to here.
