What can explain Szücs’s obsessed realism? Which is, of course, not realism either in the philosophical sense of the word; on the other hand the rhetoric of the Szücsian depiction is after all based upon a realist method and the problematic of the grip on reality. Szücs paints from photographs. He finds, collects and examines interesting pictures.

He carries with him, in his memory, the preserved uneasiness and suddenly, out of the blue after some drawn studies, the pictures are transformed into paintings. The photograph is the mechanical mapping of the spectacle of reality. In the pictures of Szücs, there is the act of selection that indicates the interesting elements of the spectacle of reality for him. As much as he intends to adhere to the mechanical image, the act of painting introduces personal elements. In spite of the endeavour for realism, the picture becomes opinion. Communicated.

Thoughts kneaded into sentences, when yet they are unspeakable through the sounding of words and the brain’s capacity for sentence-formation. Only through pictures. Only in pictures.

(Excerpt from: Iván András Bojár, The Unhinged Realism of Attila Szücs in: Szücs Attila 1999-2000, Deák Eriká Galéria, Budapest, 2000.)