As I question ideas of perfection imposed on us by technology and design, I create restless objects— works that vacillate between flat and dimensional, sculpture and painting, organic and manmade. I desculpt to depict, return to, question and reimagine ideas of landscape in the context of urban, architectural space.

 My process is a combination of form and philosophy.  Summoning Plato’s Allegory of the Cave – ours is a 21^st Century cave of false reality, and I strive to convey the ideal form from behind the shadows. I simultaneously acknowledge my task as Sisyphean. As soon as I take action to depict an image, I have mediated it. My work reflects a constant process of striving towards something achieved only through imperfections of subjectivity (asking, then, if this is its own kind of perfection).

 Landscape is broadly defined in my work, not limited to the natural world. By establishing a unique point-of-view moving back-and-forth across painting, sculpture, installation, and video, I aim to outwardly project a landscape utopia – the ideal landscape of the mind. This process is mediated and interrupted not only by my hand, but also by objects that anchor me to daily life, such as abandoned materials found at work, home, and in the collective studio. Recycled wood, tape, gesso, rubber bands, old tools, used canvas, and unlikely remnants of things (i.e. sea sponges, artificial moss) become fused with the work and are transformed, like artifacts or fossils, taking on new meaning. Within this constructed space, there is a reverence for nature and biology, an intentional tension between human intervention and organic behavior.

 My works express the tension between the longing to be free, and the security granted by the architectures we build that both define and confine us. They also express the tension between the artist’s drive to transcend the real, and the need to be anchored to the messiness of life. Some works take the form of sculptural, yet painterly, paintings, where varied matrixes are often tacked together, built upon, and surfaces scratched away; others are arranged and displayed as crystallized forms, like tools that reside in the united chaos of an artist’s worktable; others consist of disparate objects captured, bound together, presented in systems of relation defined by the drive towards personal territory; and further, others mimic recognizable forms of flags, a natural evolution within this territory of made items. The result: an ever-evolving ecosystem of idiosyncratic, hybrid objects that inhabit the walls and floors, expressing the recursive cycle between lived reality and consciousness, and the process and drive to create tangible meaning out of the ungraspable world around us.

-Tamas Veszi