Venice, 2017

Zoltan Gerliczki  

This artwork presents a striking still life against a dark backdrop, emphasizing vibrant contrasts. A single red rose, symbolizing passion and beauty, is prominently poised in a sleek, swirling blue and white vase. Accompanying it is a smaller, wilted flower, adding an intriguing narrative of time and decay. The composition is further enhanced by a vivid, multicolored round object on the wooden table, introducing a playful element. The lighting is expertly manipulated, casting subtle shadows and accentuating the textures of the petals and leaves. The deep black background serves to isolate these elements, intensifying their visual impact. This piece uniquely balances elements of elegance and decay, inviting contemplation on the transient nature of beauty.

As an artist, Zoltan is fascinated by the opulence and richness of still life of the golden age of Dutch painting in the 17th c. These works, of course, symbolize mortality and the temporal nature of material goods. In his still life, He built these images with the same symbolic references but with the best quality, you can get. By playing with light and dark, He captures the beauty of every flower and each object down to the smallest detail. In addition to photography, he uses high-resolution scans to achieve extreme detail. He use photography as a base, but in the end, he arrive at an image that nobody could actually shoot as a photograph.

 He is not a photographer in the traditional sense, but he does take many pictures and he needs a lot of layers. In his still life of flowers and objects, he creates a balance between objects and living materials with light and shadow and the best quality. He created the photographic illusion of a painting from the golden age in a new tech way by scanning every object individually and combining these with photographs that he took. The construction takes a lot of time and months of post-production. In his work, everything has to be perfect. It's like a movie. The light and color have to be right. (It is quite obsessive work.) He loves the idea of “the impossible image" – the idea of there being no limits and of using the photograph as the basis for an image that's in his head.