Let's look at the ugly finances.  Creativity support for four artists at four hundred thousand per person, that's one million six hundred thousand, the main price is one million HUF, add to this the cost of a three month scholarship in Vienna for who knows how much, that adds up to around three million.  Delivery of the paintings, printing the catalogue, royalties and all the rest, could cost two to five times this much per annum to the sponsor of the Strabag Artist Award. Is this a lot or a little?

It is not too little, compared to the number of how many similar firms could motivate with such an amount, the living Hungarian artists, but currently not doing so.  For this the firm receives a high - ranking panel of professional jury, a month long exhibition that carries its name in an internationally recognized locality, in the Ludwig/Kortars Museum whose good reputation in that sphere is called image and goodwill whose value in forint or euro would be difficult to calculate.

On the other hand, the public receives yearly a fresh, new, first - class studio exhibition of the works of young contemporary artists.  Of the five young artists three ladies are under thirty years old - it would be contrived to find a greater intellectual coherence in one room.  Perhaps we could still add, that the lady artists appear, even at first glance, to be more characteristic, original.  Although in their twenties, they are not beginners.  They have proved their importance with their own art work.  Proof that came about at art exhibitions, even at individual showings to which they have gained self - confidence through their studies abroad.

The wall of Nora Soos is undoubtedly the most decorative part of the room.  She chose the method of representation, that today's art would have borrowed from the illustrations of language books:  lined, economical, but appropriately expressive drawings, which show calming banalities in a calmingly banal naturalness.  Mrs. Smith in front of the mirror in the bathroom, Mrs. Smith is brushing her teeth; Mrs. Smith is putting on her robe while she is choosing a pair of shoes. The artist presents Mrs. Smith and the bathroom accessories with such an alluring color contrast, and she fills the outlines with such contrasting colors that it is impossible for the viewer to be happy. Green slippers with blue lining and orange borders, pure psychedelic colors, if the word still has a meaning.  The titles of the pictures are also suggestive:  On the Floor, In the Morning.        

Although the superimposed bathroom accessories, this odd and peculiar montage further proves this form of painting, which somehow speaks of the attitude toward the mundane, ironic, human existence.

Zsuzsa Moizer is much more mysterious.  That the "Angyal van" titled three portraits are actually a self - portrait, is only known to those, who know the preceding that was carrying the more accurate title in a less concealed way.  By the time they became angel faces they approached the edge of the paintings, we can see in more than a premier plane the cut out faces to the corner of the eye or half forehead, whose identities whether a grown up or a child is looking at us, can only figure out if we have prior knowledge of the subject.  One face is a little scared, fleetingly glancing; the second is a sleepy, switched off, closed eyed and the third is the most dramatic (this is the most red) eyes scared wide open with a thicker, half open mouth.

If Moizer's trilogy is authentic, indebt self - exhibit, we can not categorize so unambiguously the award winning art of Dorottya Szabo. It is visibly not water color, her paintings present Ballast in all her titles, with the transparency of the aquarelle, that does not seem to be, in all her work, so heavy a weight.  The painting marked with Roman numeral one (I) is a bit too fuzzy, too uncertain to have some weight so we could identify it to be a head of a male.  On number II it is a nice, serious, but far from communicative, homogeneous face.