Big canvas or small, created of oil or charcoal – works by Tiberiy Szilvashi always indicative of painting process continuity. They are devoid of narrative or any hints and demand complete concentration first of all on yourself. Apparently it’s the most complicated stage of the work meaning comprehension.

Especially nowadays when “The world around us is filled with images and pictures. We are not what we read or speak, we are what we see, and our «we» is primarily the result of our visual practices. Language of communication patterns (the term by A. Aronson ) is effective and clear. It is formed by field of knowledge and recognitions, which are common for informative reality. And the speed of reading such images only raises our inability to comprehend their content, which is constantly increasing and conquering us by tyranny of the moment. Virilio wrote that everything that is displayed on the limited speed, can be accidental only. This is not an antique Kairos but «the case on the horizon of transperancy» of the screen horizon.
The existence of painting today – it is an inquiring of itself. Not so much of its aspective existence as to the embodiment of the myth on a common visual language which is called «painting». The existence of space of silence, space of “slow time” becomes important for the painting on the horizon of banal “truths” and flashing images of culture industry. Painting is no longer a tool for communication under these conditions. It creates the optics of «unfaltering gaze», in which the most important element is culture of distinction” (Tiberiy Szilvashi “Trap for the Cloud”).