Painting as a means of expression establishes a unique state of standstill, backpedalling and contemplation. Dénesh Ghyczy leads us into a world where the rational principals of thought and argument have no meaning. His paintings are beyond the usual cause-and-effect relations. The figures in his paintings seem to be turned inwards or remind us of floating; streams of consciousness transformed and expressed in the motif of fragmented, disintegrating figures.
The human figures painted by Ghyczy are surrounded by abstract shapes. The notion of space is constantly broken. The portrayed figures mix with the surrounding space, even seem to emerge from it or sink into it. The dynamic between actual motif and abstract embedding expresses the whole range of human existence; our constant reflection of ourselves in relation to this appearing reality. This perspective seems more realistic because it points towards our subconscious filter and imitates the contingency of visual recognition. Ghyczy's achievement lies in representing the iridescence of inner and outer perception. His paintings demand a constant adjustment with the subconscious. The sequentiality of each moment of our existence is put onto the same level as the abstract and hidden – even if it is only a symbolic level.
Ghyczy's portrayed figures are set into a coarse grid. This grid binds the figures to the background and into the two-dimensional. The crystalline structure of the faces gives the impression of openness towards us. But the vertical and horizontal lines, that hover in the background, pull the figures back into the picture, supporting and grounding them. Although Ghyczy portrays a large variety of figures, they all seem strangely alike, sometimes even expressing traits of melancholia. They seem physically bound to the surroundings but mentally detached from it. The absentmindedness, expressed in their faces, gives the impression of acute aloofness, as if they were completely absorbed by and concentrated on their emotional life.
The simultaneous representation of different facial features leads to an unusual depiction of time. Different sequences seem to be combined and simultaneously represented. We do only see the portrait of one person but with a synchronicity of different fragments of emotional expressions. This invites us to set aside the obvious and regard the soul. We reconstruct the disintegrated scene, we have seen through a prism, and suppose a uniform state of mind beyond the fragments. We project a universal sense of melancholia into the scenes. Almost as if we longed for it. This sense of melancholia is the unifying factor in the perception. It explains the calmness underlying the scenes, despite all disintegration tendencies. In Dénesh Ghyczy's art thoughts seem to have lost all temporal bonds. He grasps the subconscious forces at work in perception and intuition, although each follows a different time pattern. The presence of past, future and immediate emotion are synchronized and merged into a time gel. Such an assessment of the human condition is not limited to the momentary act of just 'seeing'. It takes into account and respects that perception itself is always directed towards the mind. And the mind can detach itself from the linear arrow of time.