Tamás Komoroczky, born 1963 in Békéscsaba (Hungary). Lives in Budapest.

In the works of Tamas Komoroczky in the second half of the 1990s, pop culture does not only define the artist’s identity and lifestyle, but the works created according to the rules of pop culture (the application of a logo or slogan, the graphic design of album covers and advertisements) also become ironic interpretations of the given medium. […]

The structure of pictures by Komoroczky is like that of pictures in advertisements, magazines or films. Nevertheless, they do not seem to be aiming at reproducing or duplicating these. Although they use the same machinery (cameras, scanners, computers, printers), and the world of the pictures is strongly connected with the media, the use of technology is not the means of applied but that of authentic creation of pictures. His authenticity is in his freedom. The works of Komoroczky using digital technology are beside the works of those who use photos, videos or films. The result is quasi painting: classic panel pictures that may be collected by and exhibited in museums, even if they are paper printouts mounted on plastic boards or works that are printed on canvas and framed.

Excerpt from: Janos Szoboszlai, ‘On Tamás Komoroczky’s Art’.