2021. 04. 16.
interior, Dubniczay Palace

Csaba Kis Róka(1981)

"Painting for me is a process through which I confront myself and the world. For me painting is a confrontation. The idea is confronted with the material. The material always resists the intention. When a painting appears in front of me, I give space to the material from the beginning, I could say that I reckon with it, the evolving elements of the painting reflect back. Sometimes I listen more to these reactions, sometimes I break them down." Csaba Kis Róka

He graduated in painting from the Hungarian University of Fine Arts in 2007. He studied in Germany in 2005, and the period spent at the University of Nuremberg (DAAD scholarship) was a decisive one for him, as he admits that this is where the basis of his later characteristic motifs was born.

In his family one of his grandfathers was a butcher and as a result he had an early brush with death, which was a lasting experience. His other grandfather worked as a title and  room painter, which was also an inspiration for the young Csaba Kis Róka. He decided very early (in kindergarten) that he wanted to be a painter and he stuck to his decision.

In his early years he painted typically large-scale, multi-figure paintings, reminiscent of the scenery and composition of Baroque paintings. (To this day he uses the oil on canvas technique.) After 2012 he began to reduce the number of figures and the motifs. (Giovanni Bellini's paintings are particularly important for him as inspiration. And in the case of Romanticism he likes and continues to think about the Hussar figures in Hungarian painting.)

His paintings deal with bizarre and perhaps in some ways unusual themes such as the 'erosion' of the body, death, torture and cruelty, homosexuality, or various sexual aspects, horror, obscenity, pornographic depictions. His paintings often include animals (even mutilated). He is concerned with the representation of the mutilation of the human body (in which he is most concerned with the symbolic content), mutation and around 2015 he gradually moved on to transformation, which almost simultaneously introduced an abstract layer into his paintings. The depiction of cruelty has not only been present in European art since the Middle Ages, but can also be found in horror films or on the covers of death metal albums, which are also an inspiration for Csaba Kis Róka. The crude formulation of these themes often provokes disapproval, indignation and consternation in the viewer, but they are certainly divisive. The bizarreness of the depiction is enhanced by the titles (e.g. Sons of the Desert People and Anal Rebirth by the Dog of the Republic)

In Veszprém at the Dubniczay Palace several of his works can be seen: Supervisor (oil on canvas, 2014), Heroes (oil on canvas, 2010), Let us not only eat, let us also drink (oil on canvas, 2011), Neighbours (oil on canvas, 2010), Aside (oil on canvas, 2014). In these paintings (as in others) we see mainly bearded, bald men naked, various mutilated animals and sexual scenes. The paintings are mostly in brownish tones, reminiscent of the Baroque with dark tones; the brushwork is patchy. The art historian Endre Lehel Paksi classifies Csaba Kis Róka's paintings as "abject art".

In addition to fine art, music plays an important role in his life: he plays bass guitar in the Jenő Barcsay Memorial Orchestra and performs arrangements.



Csaba Kis Róka