"The most beautiful tones are in the vicinity of silence..."

Although it is hardly to be believed nowadays, still many of us know, feel & even live with the poetical promises of the recognition. It was said by an American jazz-musician. And as playing jazz -- the form of music that fills and expresses attitude, instrument and disposition full of improvisation -- can be the counterpoint of that of the defined, machine-made sound-production that can be described by formal-logical calculations, so do all of József Gyécsek's works act in the determined visual environment that almost leads into cacophony. He looks towards the conditions in front of him with safely preserved a abilities between silence and cacophony, with unprejudiced eyes and innocent senses.

His artistic gestures preserve the responsibility of the first motions after the awakening of consciousness, and as the opening moves in a game of chess might be significant in the total result, so do Gyécsek's first gestures determine his further steps in his works.

Visual silence: unsettled, unformulated, ill-proportioned and unimpressive dimension, the total absence of signs and meanings. Or it is the total from where even overflowing is impossible. In accordance with the testimony of these works of art, being in the vicinity of this silence is not less than observing and transmitting the embryonic forms of sensitivity and then the ability to respond. It might result in the first dimension, in the first distinctive colour, and in the most simple structure of a picture. About which, of course, one cannot say that there is the absence of scientific description and the they are not pressed into diagrams of psychological forms of creation.

József Gyécsek, however, does not trance the adventure of the mind but rather the personal forms and formation of emotion and senses. His works are for the most part silent records of self-examination and self-cognition. The "records" contain the saturatedness of aesthetically organized messages and the minimum of signs. They talk about emptiness or as he puts it in the title of a picture, "Nothing about Nothing". They are about the miraculous possibility that the dimensions of starting and arrival can be the same. Solid and loose, bright and rusty, textile and mud - material. Autonomic-unconscious and self-respondingly demanding, full of quotations from the history of the genre, which mixed with archetypal signs operate as an individual commentary. Like poetic, melancholic tales. Although the artist's statement are - on the basis of the story his works - constantly changing, still they are being in contact with one another all the time. And time after time they are there by "self-imitation" -by building-in particular parts of his earlier works. What one can seize in his works between the extremities of the "courageous start" and that of the "awkward arrival", interweave from gaining visual experience and talking possession vegetatively, through organization aiming at aesthetics to artistic production. His works are characterized by self-restraint. He does not take "great steps". He looks around in all directions with curiosity. But his method of creation in rather nature, not knowledge; it is rather beyond control, not practical, and even if it does not seem to be unrestrained, it is noticeably difficult to be controlled. How can a confidence-filled starting programme spring from this waste-world silence of today? - the question in salient in József Gyécsek's works. Ornithologists say that birds living on city-waste let their new generations fly from nests made of used tyres.

Dr. Tamás Aknai