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The increasingly brightly lit, connected booths of colour represent various stages of spiritual experience, leading to an altar-like, closed space, thus transfiguring the exhibition space, quite literally, into sacred space. In the case of Erik Matrai, however, the balance between the intellectual concepts of being and nonbeing, of the sacred and the profane, are born not of mystical immateriality, but of the comprehensible, graspable and simple use of materials (polystyrene, linoleum, paint) in the name of everyday transcendence.
In the displayed silkscreen prints, viewers encounter the characteristic shapes and compositions known from Imre Bak's paintings, along with their variations, offering insight into a number of subsequent periods from the artist's body of work. In 1973, the group established a screen printing studio in a firewood cellar in Benczur Street, whose activity, aside from creating series by studio members, also included the reproduction and distribution of works by other artists (Max Bill, Lajos Kassak, Nicolas Schoffer and Victor Vasarely, among others).
As part of its program, the studio also engaged in research on the aesthetic quality of industrial materials and the critical examination of visual sign systems used in art - the latter of which closely coincided with Imre Bak's semiotic research in folk art, conducted in the second half of the '70s.