Zoltan Molnos’ transparencies reveal successive layers flooded with information, planes that transform into each other and germinate a metamorphosis. Their gaze is often the focus that catch our vision, serving as a point of distinction between his double or even triple images. Whenever we find a new gaze, we understand that there is also a new figure, which until that moment was only a latent and camouflaged image. In the faces of the figures and animals, one notices how Molnos enjoys portraying expressions and feelings.

Molnos plays with form by twisting shapes, transforming them into a bunch of curves and arabesques that either provoke a background pattern or multiplies itself on faces of figures found in the foreground. In this way, figures and background are all part of the same three-dimensional space in which one thing or the other does not necessarily exist.

The space surrounds the figures, evolving them in a way that seems like nothing is either found in front or behind. Even the position of the planes seems to change, depending on our own attention. In other words, when we focus on a particular figure, it seems as everything around it starts to fade. This figure takes on the first plane and abiding by its peculiar rhythm, it then recedes, as we move on to another adjacent figure.

Just as it happens with shapes, the colour also detains enveloping characteristics and unfolds a myriad of other colours. It is soft, like pastel, has huge gradients and chromatic variants that, in harmony, wander the whole feasible spectrum. The colour helps us to focus on the primordial planes, in order to reconstruct the forms and decipher their meaning.

By Pedro Boaventura • Excerpt from Masters of Painting - Volume 1
Zoltán Molnos’s artistic power lies in a constant exchange and perpetual transformation of the inner state into a visual, emotional-mental and spiritual energy transmuted to the physical world. He is intimately attuned to the spirit of the human condition, allowing everything to touch and pass through him and become artistic nourishment. Zoltán becomes an instrument, an incredibly open and sensitive looking glass, and a glass that becomes a see-through form of the human experience.

Even if Molnos becomes ironic, the shapes, marks and forms in his paintings are not unlike performers seeking a balance. They have been created as if by an overwhelming need of a group of inner aesthetic thespians that move dramatically, without embarrassment, and execute gestures without shame; that move through the world of emotion, intelligence, conscience and spirit toward a unified harmony. The organic quality in his work moves of its own volition and with a passion to communicate an inner freedom to the outer theater of life.

Text by Prof. Philip Rubinov Jacobson, Tucson, Arizona

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