In her works, the colours were combined by the beginning of the 90s from intended and not foreseen motifs and moments of primary meaning to forms, landscape elements, mystic scenes which can be interpreted in several ways. The repetition of physical luminous phenomena, painted patches of colour, drawn forms or collages serving as basic motifs in the compositions slid and projected on one another and fitted together like a montage gave the impression of mapping, dissolving and embodying the basic form from different points of view as though it had faded in from a different time plane, a different space and had struggled back as a surface of any physically measurable body or object scanned by particles, spots and streaks of light.

The partial colour forms of paper collectively and severally, permeated with light, reinforcing and reinterpreting one another and gaining a further possibility of interpretation, were enriched with further semantic content. The creator’s intention based on deliberate and accidental colour effects and individual form conceptions and emotionless relationship with the machine transformed to intuitive images an autonomous world concretely not predetermined, partially existing in thought, mostly feeding on imagination and chance from partial elements which can be defined from unusual textures, translucent and close light threads and patches of colour.

The smaller and larger works made by Ágnes HAász in the following period are parts of a strange iconostasis, mapping of continuity of reality in separate images – icons and parts of icons – whose essence are metamorphosis and transsubstantiation.

Light as a material fixed on paper in form of colour possesses a metaphysical characteristic feature in itself. Not only does it become saturated with symbolic content by the form but it directly illustrates the metaphysical essence of reality as projection of the relations that can be expressed by themselves and creates new contexts with reality beyond experience.

Light, technique and technology as artistic means bear further forces of transsubstantiation. Light is a reperesented object, a sensory likeness, a surface objectivized as a colour layer on the surface, and embodiment of thoughts independent of sensuality. In closed chain of process of creation, the ready work shows us the image of the continuum embodied from elements of eternity in the given moment.

Thus, Ágnes HAász is concerned with clearing up the relations between facts which cannot be connected evidently. In the last few years, her art has been enriched with moral and emotional contents and deepened by visual interpretation of time as philosophical concept (see Labyrinth works, time compositions, recent pieces of the Electro-iconostasis series).

The artist penetrates farther and farther in the world beyond conceptual sphere and in the deep layers of soul. It is no mere chance that - like in her icon period - sacrality has intensified again in her recent works.

Júlia N. Mészáros