2017 was a remarkable year in András Bernát's life. For nearly 40 years, a consistently constructed pathway for the artist's 60th birthday has come together in a long-awaited oeuvre exhibition and a companion catalog. By slashed the volume, one has the feeling that he falls into a sprawling novelist, where the main motifs come back again and again more sharply or vaguely. There is a wonderful painting arc that still has surprises for those who have long been following Bernat's painting. The volume also presents the experimental paths, those joints that appear as a blizzard in the oeuvre. The main theme, however, is definitely there, rubbing, swirling, swirling in the images, and taking us with you.
In most of the landslide landscapes, there is an uncoded (which is a threatening feature of) threatening natural resources, sometimes in crystal structures, sometimes in never-ending spiraling bends. But in these pictures, the body can reveal its intangible, irrepressible, surfaceless nature. Saint Thomas's experience of infidelity resembles the experience as revealed in Bernat's paintings of the 'body', as the majority of his paintings bear witness to the unexplainability (essence).
Last year, the Landscape Configuration was presented at the three major exhibitions of the country, after the Paksi Gallery, at the House of Arts in Veszprém and then at the MODEM in Debrecen.
Most of the photos presented at this exhibition were born in 2016 and have not yet been exhibited in Budapest. The exhibition presents the road to the latest images: these paintings can be classified as the first phase of the so-called 'tectonic images', showing the moment when the planes' encounter is not yet open in the pictures, it only shows that it will break. The basic element and the most important effect of the paintings continue to be the light reflecting on the straight line brushes.
