Neogrády-Kiss Barnabás at Inda Gallery
Neogrády-Kiss Barnabás’s exhibition “Eyework” brings pictures from three of his current sequence—“Stone, Paper, Socks,” 2016–18, “Double Bond,” 2018–20, and “Solitude,” 2020–21—collectively in a single work predicated on the formal and semantic correspondences generated by way of set up. In one of many photographs from the “Solitude” sequence, Untitled 19, 2020, a cloud of flashy orange smoke seems to be a tea bag diffusing in scorching water. It is perhaps mere coincidence that the colour rhymes with that of the roof tiles of the Solitude Palace, the Rococo-style fortress that offers the sequence its title, in Untitled 26, 2020. However given the precision of the hanging, one will get the sense that Neogrády-Kiss is fastidiously establishing these cross-references.
“Eyework” is thus not solely in regards to the photographs themselves, however in regards to the language they study to talk to at least one one other throughout the exhibition area. Untitled 2, 2019, captures the artist leaning on a windowsill subsequent to a crumpled picture of a mountain. That very same wadded-up panorama is clamped below the decrease fringe of the body of the {photograph}, linking the world of the picture to its bodily environment. The print’s wrinkled floor finds additional resonance within the crude convolutions of the half-formed statue in Untitled 28, 2020, and the ridges of the cauliflower florets in Untitled 21, 2020.
In Untitled 41, 2021, the artist stands in a clearing atop a mountain. Centered in a pale-yellow out of doors jacket, he faces the digital camera whereas clouds flood the valley behind him. The impact is gorgeous, the weather of the picture as concisely composed as the pictures alongside the gallery partitions.
— Maximilian Lehner
