Janos Gat Gallery

SEPTEMBer 12 - October 06 2018






Janos Gat Gallery





PRISME is pleased to invite the Janos Gat Gallery for the exhibition






Presenting the latest monumental works of Judit Reigl :

Unfolding (Phase IV - Anthropomorphism), 2008

New York, September 11, 2001 Continued, 2007

Birds, 2011



Du 13 septembre au 06 octobre




"The basic premise of the creative process is the desperate desire to eliminate all contradictions and limits of existence — personal, human, and cosmic — and to expand through a permanent revolution."


Judit Reigl



Artist above trends, Judit Reigl draws on her own most profound personal experiences in order to reflect a broad and complex vision of mankind. In her painting, she pursues the essential and the absolute, thereby giving us a glimpse into the unknown. A free, exacting, and daring artist blessed with ever-renewed youth, she pursues a wide range of interests with immense skill. Reigl’s work is cyclical. Depending on the demands of the given cycle, her gestures might widen in outlining a human figure, or otherwise narrow into an endless, transcendental line on her canvas.


Everything gravitates in Reigl's oeuvre; everything takes place in a space-time that is as infinite as it is indefinite. Because her gestures unfold in paintings that are freed from the context of temporality, she is able to turn both abstract signs and figurative motifs into universal elements. Reigl’s mode of expression is uninterrupted movement. Her gestures, guided by the logic of their own “objective chance,” appear in her paintings as the sum of her intentions and the painting process itself. In a shamanic manner, she transforms her reflections, every single thing that relates to her inner life, into overarching concepts.


The sensation of flight is a recurrent theme in Reigl’s œuvre — and painting birds is a way for her to fly with them. Reigl’s birds symbolize the somber flight of her very gesture with which she bids farewell to a previous work cycle and embarks on a new one. Guided by primordial forces channeled through her body, these soaring gestures unite Abstract Expressionism with Surrealist automatic writing, free from the dreamy unconscious.


The silhouettes that Reigl paints originate from the memory of a twilight scene she first sketched in Rome in 1947. Drawing a hard-to-make-out human figure in a doorway, she was unable to place the feet properly: they seemed to be at once in front of, behind, and above the threshold. This long-ago sketched vision first appeared in a painting in 1991, which painting then launched six consecutive series of bodies in a state of weightlessness (see annex). In every silhouette of a man that Reigl paints we see an individual whose ambiguous situation makes him the very definition of the human condition. Simultaneously standing on the ground and floating above it, Reigl’s figures could equally be emerging from a passage and receding into it. The variety of silhouettes render mankind in the splendor of its full array of sublime and tragic qualities. It is hard to say whether Reigl’s figures rise, fall, hover, or all three at once. Anonymity and the absence of context enable us recognize these outlines of the human body as signs that expand before our eyes into cosmic beings.


What sets apart the five-part polyptych, Unfolding (Phase IV – Anthropomorphism) from Reigl’s preceding New York, September 11, 2001 series is its meditative, even solemn mood and dark tonality. Another difference is that over all five canvases the silhouettes are moving upwards — a multitude of them spreading across outer space, towards a destiny beyond human measure. Treating the theme of flight one last time, and viewing it from a different angle, Reigl gives us another chance to gauge the mystery of existence.


Alexandre Lorquin