Igor Eugen Prokop — Contemporary Art Curator Magazine

Biography

PROKOP IGOR EUGEN
Born 1953 Budapest, Hungary
Lives and works in Visegrad
EDUCATION
1971 -1973 Dentist technic i
1974 -1978 Teacher Art and Biology
1981 – 1984 Biology
1985 - 1986 Philosophy
1987 - 1988 Film aesthetic
1990 - 1992 Design manager
2001 – 2002 Environmental Protection

Artist Statement

I am an earthling like so many, seemingly animate and inanimate creatures of God abounding
with colours and shapes. As time passes by I have experienced during my trips that all this is
perishing. I do not want my children, my students, the explorers of the future not to be able to
see this magic. I am presenting some fragments from the endless world and giving them to
the spectators with love."

What first prompted you to think of becoming an artist?

Curiosity. Getting to know, discovering, solving secrets. The adventure. The eternal desire to acquire knowledge. The knowledge by which I can learn the secrets of the eternal, the impossible. The more I learned and became aware of the laws and systems of the world, nature, man, the closer I got to the existence of a divine natural force. Its effects, manifestations, vibrations, and strength, appear in the intentions of the expression. Fine arts gave me the motivation to express my thoughts along this path. Lao-ce wrote in the book The Way and Virtue: ”It is not the destination, the arrival that matter, but the WAY.” Our vulnerability now represents a new opportunity for art. The paths of the microworlds. These are us, that is what we are. Return to a state of paradise. With our present knowledge from innocence to a fresh start. It is a new enlightenment, a new Renaissance. The compulsion of the Covid. Now the king is naked. What matters most is only cooperation and the rejection of stupidity. It is important to show the material existence of the soul. Genetics and proteins must be given the opportunity to visualize the soul, how our soul came to the divine determination. The soul: the good, the pure, the transparent, the wandering, and the eternal. The moment: sorrow, joy, knowledge, love, discovery. Our eternal desire is immortality, the light, pure, etheric existence, to possess the love energy of light, to overcome frost, and to fly. The genetic programs of this are preconditioned in us. The code of the virus is also a tiny fragment of the universe, but it can essentially transform the larger, more complex, but more vulnerable human code system into its favorite program command. Man is a very short story in the living world. The evolution of man is connected and preceded by the formation of life over millions of years, the complexity and sublime divine origin of organization. Looking at the antecedents is an elementary, essential part of my art to return to Paradise, to times before states of paradise. From unicellulars to human ONE cell, to reproduction. To create the highest level of organization, the hardware, to enable the human brain to accommodate the divine software.

What kind of an artist do you ultimately see yourself?

This will be decided by posterity.

What are you hoping to communicate to the viewer through your work?

The basic units of life are defined by four letters: A, C, T, G, Adenin, Cytosine, Timin, Guanin. These are amino acids, the order of which determines the properties within the gene. This is what we are struggling with now because of the virus, at least five thousand segments need to be explored to find out the local properties of the virus’s DNA chain. The same goes for colors. The three base colors, red, yellow, blue, and the primary mixed colors we create from a mixture of these, already give me an unlimited opportunity to extract and make the information visible that is present even in the deepest hidden corners of my brain. To all this, even if we take into account the shapes, the shades, or even other colors, the enormous potential of the Universe is revealed. It motivates and inspires me that only codes developed and recorded by evolution since ancient times could appear in my images. These codes, signs, shapes, colors, and data determine a person’s physical, phenotypical characteristics, his appearance, spirituality and intellect. All these qualities now add up at the billionaire level in society. I see it as a network, as an Internet, as a computer network. The properties of billions of brains define a system of properties, social attributes at a much higher level. These may be needed by the Good God. From that, I think, there can be life not only on Earth. After all, if it did develop here, there is a place in the world out of countless and endless possibilities that cannot be comprehended by human reason. I mean the hidden dimensions where the presence of God is articulated in these codes. To these, for the time being, it is only the decipherment of Earth codes that greatly promotes and helps my work, because my emerging dreams, the reality and everyday moments I experience and, nevertheless, their imprints still create another opportunity for me to create my next picture. After all, the previous image and their elements can appear in a completely different system, shape, color in the next picture. Well, unfortunately, it is confined just by my life and time. I think, I can just roughly decipher these brain secrets, codes, signals, connections. This is similar to Ludolf’s number, Pi, which after 3.14 hundredth is a huge set of numbers for researchers at present, but it cannot be deciphered exactly. Similarly, I can only approximate these colors and shapes I have dreamed and painted at the expense of my own brain. It is all divine definiteness, a divine determination. It consists of a multitude of images in the brains of one of the living beings within the Universe, namely Igor Prokop, formulated into pictures, transformed into lines, colors, shapes. This is what I want to use for the benefit of people and nature, to increase knowledge and motivate.

Can you explain the process of creating your work?

There is a constant intention and an inner motivation, an inner compulsion to show what I dream of at night or during the day, and I let these details develop. The image is neither formally nor technically ready. This is an initial, basic state. I want to draw, paint the feelings cropping up, a nuance of small things, and starting through it, or starting from it, create the picture itself. These technical details are very important, because they are constantly evolving, taking shape and are connected with the next steps, the details of the dream to be solved, the details of reality, my experience, my studies, my knowledge, the elements I have seen and heard. The way I work looks like this: I usually work on large surfaces, sometimes I scribble, draw on small pieces of paper, these are kind of sketch elements. First I prime the large canvas, which is roughly 150x200 centimeters (5x6.5ft). After priming, it gets one color or several colors, which I apply to the primed canvas in a completely multifarious way. This is done relatively thinly, whether glazed with a roller, brushes, or a kind of paper or plastic print. When it dries, a very interesting and much-loved part of the creation process comes linocut. It is a large linoleum sheet, roughly one square meter (appr.3 square ft). I use for cutting tiny-tiny knives to make the shapes as meticulous as possible. This engraving process takes a long time, sometimes two weeks. I do not draw them in advance. I always choose these forms according to the given topic, and they constantly flow out of my hands, obviously under the control of the brain. In the next phase, I will first press this linoleum engraving on my dried, colored, two-layer, or multi-layer canvas. As I print these details on the surface, under the tiny details, the colors define the next step, which is usually applying a stronger, thicker layer of color with a brush, some other tools, or even by hand. When they have dried, another layer comes, which means a very strong, emerging, dynamic, very short-lasting, very definite sequence of movements with pre-designed colors and tools. The next and final layer is to draw the interdependence of these tiny details. These shapes are given a black-and-white or colored contour line in very many places, and thus, a completely transparent but complex system is formed on the surface. At the very end, I fix the image with a special varnish, this multi-layered structure gives the image its depth and dimensions.

What is your favorite part of the creative process?

I like each of the processes outlined earlier, I make plans for each part. In one, there is more physical movement, in the other, statics, endurance, a lot of time-consuming drawing. I love how meticulously the relationships within the picture change. But one of the most pleasing and spectacular, in its result, too, is the very dynamic brushstroke colors created in seconds. This is an extremely big responsibility, preceded by relatively strong stress, when I steer the drawn, edited, painted, almost finished work in a completely new direction. I put a whole new structure on the canvas, which is a huge responsibility. And the moment, this momentum, this series of movements explodes and is done, I look at the painting from a distance, a huge burden falls off my shoulder and I feel a tremendous release. And in 99 percent of the cases, I decided I did very well to reach into the picture even with this sequence of movements. So it gets complete, so it will be whole.

Can you give us an insight into current projects and inspiration, or what we can look forward to from you in the near future?

Throughout my life, I have been exploring the human brain. It is the most complex level of organization on earth. The most inextricable system. It is worth following the process of evolution, how the human brain evolves, and how it is able to solve increasingly complex tasks. What is the limit? I want to decipher the information and codes embedded in the human brain. Let the tools of the brain, the emotions, the hand’s work. Creation is a meditative state. When I immerse myself in the process of creation, a lot of hidden, secret information comes to the surface. Time is the only limit here for me to be able to capture, draw, paint these extremely fast-paced and powerful systems. This is my constant inspiration, as the brain is capable at any moment to share and show millions of information. Luc Besson’s film Lucy raised an interesting urban legend. Why do we only use ten percent of our brain capacity? Although, this statement is proven by scientists NOT to be true, but it highlights that the performance of the human brain is limitless. What do the ancient codes of the human brain hide? How do they relate to learning? What kind of visual ideas and dreams evolve while I am deciphering these codes and maps? I have been working on this project for years. What kind of connections do I dream of between my brain and the Universe? How can I record, paint and interpret these? In the future, I would like to scan the details of my completed paintings and drawings, and to shape these millions of my digital prints into new and new systems, to create digital images based on real painted images.

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