I would like to begin with a quote by Russian-French artist Marc Chagall: “All colours are the friends of their neighbors and the lovers of their opposites”. A statement that may be seen, by many, as a simple observation of colour theory; however, it can be interpreted beyond that, especially in the case of Laslo Antal. Love is a steady truth in Laslo’s work as seen in the repetition of beings. Hidden behind faces of emotional ambiguity, the representative of emotion is found decisively in an array of vivid tones, unmatched. This expression establishes the visual incentive, but also serves to escort the viewer to an easier understanding of the intended meaning. Whether it be an unseen experience or a shared ritual, the expression of love through colour is an essential element in defining his emerging portfolio amongst a range of modernist contenders. This, however, is just one of the components which support his standing as a key contemporary figure.

Laslo employs the use of an enigmatic body void of colour to convey the identical impression of hollow man, subsequently dressing them in broad accessories of the moment ⎯a taste that defines the figure’s individuality⎯ much a reference to the defining materiality of an individual’s representative reality. These figures not only wear the unsaturated faces of futile monolithic beings, but the composition of their seen figure consistently involves discomposing limbs engaged in general activity. This emotive visual matched with the dressings of engaged hues creates a powerful scene of conflicting identity in an arrangement that would otherwise be prepared as an ordinary action. These factors distort reality with contrast, isolating the absolute versions of self and representation in a context all too familiar. This brings me to my third point, familiarity. 

I previously discussed the consistent relation of love as expressed through multiple beings on the page, but beyond this the scenes are flowing with an intimate comfort. The actions: constructing a publication, embracing in arms or engagement, operation, and consumption ⎯all of which resemble a daily avenue⎯ are where the understanding is rooted. Through this simple observation, one is inclined to interpret the characters through the emotion displayed rather than an outsider’s conceitful judgment. This attaches a subjective explanation which aligns more closely with the artist's intent, an exercise of difficult mastery when involved in expressional abstractism, a skill Laslo has possessed since the beginning of this practice. This possession, in my eyes, grants him a spot as a key modernist collagist: beyond his expression of skillful visual craft, he has exhibited his valuable singularity, the key to a powerful expressionist and an attractive exhibitor. Praise Laslo Antal.