Menyhért Szabó presents his latest sculptures in a solo exhibition at Einspach & Czapolai Fine Art. Part of a new generation that began in the late 2010s, Szabó has dismantled and rebuilt the introspective, humanist world of classical face and nude portraiture by using crumpling rubber shells and industrial raw materials. In his reliefs exhibited at the gallery, he evokes the fragmentary beauty of the Parthenon reliefs in the British Museum's Frieze of the Parthenon using his signature crumpled silicone torsos. His individual sculptures rewrite the compositional structure of the futurist icon Umberto Boccioni's 1913 work Unique Forms of Continuity in Space. Whereas avant-garde sculpture swells with the dizzying dynamism of the rushing person, which manifests in Szabó's work in a symbolic X-shape, a solid sculpture built up from fragmented elements.

​

“The works”, says the artist, “have a solid effect but are fragmented in structure or composition. They contradict Boccioni's continuity, since in my work movement in space is erect, in the X-form. The pieces are not united, rather they break down into separate forms. The alien elements, the scanned crocodile skin or the peculiar spatial elements only half-fuse with the body. I deconstruct classical elements in my work, but however fragmented, however much it’s falling apart, it retains its solidity, its fragmented forms of static solidity. As a sort of zeitgeist of a world in turmoil."

​