Kresák, András (Szeged, Hungary)
2006- University Of Fine Arts (Budapest) majoring in graphic design
2001-2003 Decorator School (Budapest) majoring in window-dressing and applied graphics
2000-2001: OKJ course, qualification in interior designing and selling furnishing
1996-2000: Tömörkény István Secondary School Of Arts (Szeged), majoring in sculptoral decorations.
I worked for a decorator company from 2001 to 2003 in Szeged where I was able to make designer work like corporate identities or poster designing including other decorator practices. While attending the Decorator School and the university I had contemporary graphic designer work and orders like corporate identities, posters and other publications.
During the university the education was mostly about to design tipical graphical elements like logos, logotipias, posters or other publications. But I also like designing and drawing graphics and illustrations. Maybe that is why I chose this way of handmade designing in my diploma project and that is why I would like to spend more time on making unique illustrations or graphics as a new experience of my art skills in my near future.
Aug 28, 2013
"Anybody who's gonna go around saying that cinema or art or culture is limited only a few people, has just got to be ignored! Because it ain't true. It's all big enough for all of us. And the idea of that being limited to a few tv stations or a few films or a few worthies or a few prime minister or whoever wants to impose that one, two whatever view ...and silents everybody else... it's just nonsense and we just have to prevail."
Jul 19, 2013
Attila Bagi painter artist chose my „Bicycle Is Real” illustration from the series „There’s No Costume” as subject matter and as an object analysis
"András Kresák is a graduate graphic designer and the work I chose was made after his university years called „The Bicycle Is Real”. This illustration from the year 2012, a piece of his graphic series „There’s No Costume” is about a relationship what ended up with a bad termination, shows the facts of the happenings scene by scene. We can see the most important moments of the end with different written texts.
The series seems like a documentation. It was a self-therapy method for András right after the relationship.
There is a woman’s shape on the right side of the picture, who’s András’s ex-partner’s good friend and according to András, her arriving from the USA decided his and their relationship’s fate.
Right next to the woman we can see a bicycle is taken against the wall and this is the bicycle what this illustration is about.
From the right side to the left we can see another human shape without head.
This is a man’s figure and the artist himself. Next to this the same shape appears again. The difference is that the shape is fronting the woman now, also without head.
The caught moment is infront of a partial bright orange colored background which can remit the sunshine, warm or sunset. The darker woman’s shade is more in back-light, than the two other human figure.
If we analyze the psyche of the picture, we can say, it’s a manipulated painting according to the pattern of the man’s T-shirt. We can also notice it on the hyper contrasts.
Because of these contrasts the not so colourfull painting becomes very storng and pulsating.
The dark figure is the woman from the USA who András mostly blames for the ruined relationship.
This painting is about the relation of them, when András’s partner was gone and the artist staied in the house together with the guest and that is another fact that they had some token discussion before.
Fortunately the spent time together wasn’t so difficult. The woman put on her „most truthful” smile and they got along well. András had to take fotos of her when she was squiming infront of the camera and next to different objects.
These moments of their relation is returned well in the painting with her figure’s coquettish pose.
She made her body tense in the posing pictures and makes the atmosphere of this painting tense also as a tipical scene of their moments in common.
The two choreographed „self-figure” get along well on an other layer. One of them is in face of the woman, however it seems one with the other shape who stands back on it.
The cutting of the legs, heads and also the bicycle in he background are stretching the composition from edge to edge.
The hint of the name of the picture intensifies very well the dual self-representation. It dares to show that the bicycle is the only real and honest thing next to the unexisting and existing fake smiles in the picture. As in the situation which was motivated to paint this statement, when András couldn’t really decide that the guest’s ear to ear laughter or her gestures are truly honests or she is just putting another cold mask on her face in order that to show something doubtful to András."
Attila Bagi, 2013
Jul 12, 2013
Oh! My artist portrait and a graphic of my "There's no costume" series as subject matters in the University Of Fine Arts in Hungary. Uplifting!
„(…) I know Andris as a studiously, first and foremost incredibly honest person. This personality what he can’t take less to anyone and this is how he judges others.
With this vigour, which is carried too far sometimes, he can be – a bit blithely – too open and then he realizes, he shouldn’t have been naive like that. He doesn’t study by his mistakes, he makes himself calmed with the thing that everyboby has to know what happened with him. He is honest and his life is an „open book”, as he says, and nothing else matters.
He can’t take care of his personal belongings. In every moment he can’t be responsible enough because things shouldn’t have happened, that his stuff was lost or stolen, like his cells, wallet, bank cards or his keys. This would be an other example how he can’t study by his „mistakes”.
He’s a brainish guy as I am, but even so I get along well with him and we have a really good friendship.
As the more strong personality he is, the more sensitive and woundable he becomes.
He’s very lovable and loving-hearted. If once you know him, you can love him and then you can’t leave him from your side easily. His affection is rhapsodic and sometimes it’s close to extreme.
If something not so positive happens with him, he can fall into a shoreless melancholy, but if he’s in a good mood, nobody can keep him back from flying either.
He likes being in company with his friends, especially when he is in the limelight. If he’s not in there he does something to get people’s attention. Because of this he doesn’t really have stage-fright and he also likes big parties. He loves living and going out and leaving behind his grey work-days. (…)”
Jul 8, 2013
Las fronteras de la piel.
miércoles, 31 de octubre de 2012
"Andras Kresak y su último trabajo fotográfico titulado “words” son los provocadores de este post, bueno, y Facebook que es una manera de estar en contacto con personas como él, que a pesar de las incomodidades de la distancia o el ritmo de vida, puedes seguirle la pista. En cualquier caso, las verdaderas precursoras del post se llaman “EXHAUSTED”, “WEAK”, “CRAZY”, “FOOLISH”, “MAD”, “PEACEFUL” o “HIDDEN” entre otras. Éstas hospedan unos milímetros los poros de la superficie de la piel, se muestran entre un claroscuro flasheado, a veces imponentes a veces recatadas, pero siempre invadiendo la superficie de la piel. La primera fotografía me causó un verdadero escalofrío, todas esas palabras habitan también mi piel, la diferencia está en que las mías, como la de la mayoría de espectadores, de momento son invisibles. La piel es nuestra superficie física más próxima al contacto con el exterior, por lo que también la primera en herirse. Por qué no hablar de la otra cara, la oculta. De la parte donde salen de tanto en tanto esas palabras cuando no se adhieren del exterior. considero que esa cara oculta, es la más vulnerable e íntima de cada ser, y lo es por alguna razón. Un vídeo-performance de mil dolores pequeños nos habla de ello, titulado: "de la piel pa dentro mando yo". El cine y la literatura también nos han expuesto el tema de las fronteras de la piel, además de una manera brutal. Tanto en la piel que habito escrita y dirigida por Pedro Almodóvar como en la novela en la que se basa la película, Tarántula, del escritor francés Thierry Jonquet. En ambos ejemplos, existe más que un cruce de fronteras, yo hablaría de violación, de un más allá del límite, de la piel. Cuando existe una herida, existe un cruce de fronteras…cuando existe una cicatriz, una memoria violenta."
miércoles, 31 de octubre de 2012