The hurricanes in the USA are named by female first names. I could say that this is a form of sexist approach/discrimination, but the word - pairings of our own language comes to mind, such as feminine whim or whimsical weather. Nora Soos is introducing her current, about two dozens of oil - canvas paintings in her exhibit at the acb Gallery, titled Wilma, which refers to hurricane Wilma as well as our childhood's favorite cartoon character Wilma of the Flintstone family.
The style, which is sharply separable from the others by her playfulness and decorativeness, is now showing a more serious side of her. Her paintings represent a multi - layered picture in the word's physical and spiritual meaning, which refers to the natural as well as the human disasters like wars or terror attacks. She counterpoints the depressing themes by abundant use of color; thereby her compositions do not burden the viewer with the pain of confrontation. Not only does Soos recapture the flavor of and uniquely interprets our recent past and its stories, but she raises the level of responsibility of the artist. (It's important to know the reactions to our lives by the art society, since, through their creations we can look at their value judgments and their behaviors grafted in visual expressions, but the individuals responsibility is not diminished at all. All our movements, gestures, stroking is like a stone thrown into water: it will make waves.) In her art the surface of the canvas is full, she puts the pigment on with definite contours: in two layers, the people and objects cover each other, the scenes are floating on top of each other too. The silhouettes and the transparency cause the confusion so that we often do not know what is up the front and what is in the back, dreams and reality merge. In her presentation, the penetrating, overlaid objects are from two eras: the dream world of our childhood stories and the reality shows that surround us now. Idols of our childhood and present day realities. These planes are penetrable, parallel worlds. Things are connected. The source of their tension is the simultaneous presentation of their conflict, the ordering of unmatched elements in pairs, the way it was never seen before. In the "Parok II" the coffee shop scene shows two people, a man and a woman, seemingly in peaceful harmony, but they slurp their coffee turned away from each other: we know for sure this is the endgame in their relationship, the beginning of social isolation. Soos is capable of throwing clichés / codes together that allows us to understand the original meaning of it. In "The Elephant in a China Shop" the animal is just as fragile as the pitchers, cups and plates are on the shelf in the background. They are independent of each other; the large body of the animal does not cause any damage, just floats on the surface of the painting. The "Nagy Alma" (Big Apple - already sold) perhaps the star production of the exhibit, incorporates a lot of symbolism. In the foreground the artist is drawn in contoured profile as she bites into a green apple. This could well be the moment of the original sin, as well as the recapture of the Beatles song (Apple Records), but in the background we see the silhouette of the New York skyline (Big Apple) with its skyscrapers, the Statue of Liberty and the terrorist destroyed Twin Towers. Katrina ( a hurricane and the ice-skater Witt) also appear together: while the cars built vertically on each other drift with the tide, meanwhile the professional athlete is holding the edge of her skates above her head. Ali (Aladdin) is gazing with an open mouth into his wonder lamp surrounded by a ring of burnoose clad men, while Wilma is continually talking into a horn telephone receiver in front of a baby dinosaur's watchful eyes with a background of the catastrophic storm in Florida. Wilma has caught up to Wilma. " A Pinocchio Legvedelmi Raketaval" (Pinocchio with Antiaircraft Missiles) titled art work depicts our childhood favorite resurrected wooden figure together with bombs, grandees, falling helicopters and a diving fighter plane is "over writing " it. In the "Hungarian Stroke" painting a cavalry man, (hussar) is fighting with his sword as he emerges from a tank, while in the foreground lead toy soldiers stiffen into immobility. It is a contemporary balance of power. In "David es Goliat" (David and Goliath) a soldier with a scoped rifle in a prone position ready to fire is in the company of a toy soldier with a lance and the portrait of David by Michelangelo. Let's see where the three of them could go. In the "Elveszett Paradicsom" (Lost Paradise) painting a girl with her face in her hand is grieving her lost childhood, knowing all to well, that her tricycle, her favorite clown and her spinning top are long gone.