Márton Gresa


Pápa, 1993

In my work, I tend to express- symbolically and narratively, the modern society’s screen addiction. The luminous surfaces became the emblem, of our time and age. The lighted screens as today’s emblem. Today’s cultural forms are defined and characterized by counterparts and effigies.

 Reflecting to all these I put great significance on the traditional technique of painting. Combining these with the tools of digital imaging I am creating a completely new ritual and strategy. My paintings appear as mosaics made of a network – which one is constructed by the existing implications. Within my themes there is one that is considered the most common in the history of painting -the portrait. I put the "users'', the ''Indigenous people" of this world into the center of interest. In these works the light itself has a great importance. This is the opposite of the presentations of light within history of art, often defined by a window-motif, while here we are talking about an artificial monitor’s cold light.

 In the last few decades, the "mashup" or "bootleg" techniques of music production, often used in the DJ Underground subculture are noticed. Where using and combining existing songs, activating the existing music database, new songs are created. Generally speaking, this is a process that origins from the techno music culture, which - expanding on the visual art world - became a new paradigm. As in the case of music, where the appearance of the variety music making software products and the possibility of accessing music by a single click changed the path of the music history. In the visual arts as well, the image-making programs had serious impact on the visual culture and imaging itself.                 

While seemingly painting and its tendencies seem to be overshadowed, the painting as an image appears to be an Idol, the most important product of the mass culture.

Ever since times, when the most that a human can expect from society is to appear in the media, people are having an unpleasable desire for constructing a virtual copy of their own lives. The screen in this case is present as a window, which does not require anything else but a passive presence and attention, resulting in functioning as a certain kind of curtain or vail.


2017- ESADMM Marseille
2013- Hungarian University of Fine Arts
2012-2013 Óbuda Fine Art School
2008-2012 Győr Dance and Fine Arts High School


2016 Amadeus Creator Scholarship; Budapest
2017 Erasmus Scholarship: Marseille
2017 e Édition de Art Students Week; Paris
2017 Member of Léna & Roselli Gallery; Budapest


2016 „Look to shine” Udvarház Gallery, Veresegyház (HU)


2017 „Deficit” / Udvarház Gallery, Veresegyház (HU)
2017 „KÉPZŐ” - DiákHitel Competition / A38 Ship, Budapest (HU)
2017 Y Generation Art Fair - Godot Pop up / ZSILIP, Budapest (HU)
2017 „Expelled” Collection Kepesita – (Competition: The first 10) / Eleven Blokk, Budapest (HU)
2017 Joseph Semah: „About Frendship/The guard of the gate” / Art Market Budapest (HU) (member
of performance)
2017 „….” (Day of painting / A festészet napja) / B32 Gallery, Budapest (HU)
2017 Renaissance Now / Léna & Roselli Gallery, Budapest (HU)
2017 Agora Budapest / Széphárom Közösségi Tér, Budapest (HU)
2017 PIKNIK / Friche la Belle de Mai, Marseille (FR)
2017 Ludwig Pályázat / Barcsay Room, Budapest (HU)
2016 Amadeus / Hungarian University of Fine Arts / Barcsay Room, Budapest (HU)
2015 Amadeus / Hungarian University of Fine Arts / Barcsay Room, Budapest (HU)
2015 Eleven Tavasz : „1 Művész 1 Porta” / Defo Labor + PakkArt, Budapest (HU)
2015 3 x 3 with Nomád Support Brigád / OFF Biennale, Budapest (HU)
2015 „The other Half” / Kőrösi Csoma Sándor Kőbányai Kulturális Központ, Budapest (HU)
2015 „Water” / Udvarház Gallery, Veresegyház (HU)
2014 III. Mazars Gallery Exhibitons, Budapest (HU)
2013 Budapest Art expo Fresh, Malom Gallery, Szentendre (HU)
2013 „Flying” Udvarház Gallery, Veresegyház (HU)