„ Zsuzsanna Korodi’s image surfaces of immaculate purity, oscillating between two and three

dimensions, show a close relationship with the traditions of op-art, kinetic art and broadly understood constructive-specific painting. Her works may be regarded as images, objects or reliefs alike, but the uncertainty of their genre classification is not the only thing to confuse the viewer: the alternation of their conflicting spacial illusions are also puzzling. The recipient needs to give maximum focus on the reception of the real and virtual spaces generated by the rhythmic repetition of basic geometric forms, the changing pace of the sometimes crowding, sometimes thin stripes and wavy lines. The scenery changes dynamically, thus new constellations are created depending on the movement of the viewer.

In a way these works make the mechanisms of human perception spin at maximum capacity. The eye

is forced to continued alignment, and the brain to continually reinterpret the sight. However it remains impossible to capture the vibrant visuals and surprise them in the act. Our eyesight scanning the multi-focus image spaces without mid-point cannot find a resting point.

Korodi’s works are also related to op-art by virtue of the industrial character of the picture items:

the works lack personal marks. The abstract character of the sight is reinterpreted and placed in new

contexts by eloquent titles. The works however, in spite of their narrative associations, do not take

up a narrative character but rather remain venues for the optical events. Korodi does not explore the

reports but rather the phenomena: her works thematise the gameplay between the visual impulses

and the ”responsive eye”……”

Mónika Zsikla
art historian