Perceptual Choreography
Each LAND proposes its own way of seeing. The energy maps reduce each painting to a few lines of movement, tension and direction.
LAND 1 - Seduction
The energy map makes visible what I call the painting's perceptual choreography: a movement of attention that I consciously explore while painting, seeking a visual form for what lies behind the visible. It does not prescribe how a painting should be seen; it is my own visual language and an ongoing experiment.
For me, a composition becomes complete when colour, form, tension, rhythm and direction can carry this inner movement and open a space for interplay - for something that began in me as thought, feeling or movement to continue, in its own way, in someone else.
LAND 2 - Condensation
LAND 4 - Metamorphosis
LAND 3 - Propensity
LAND 6 - Momentum
LAND 5 - Inward
LAND 7 - Custody
LAND 8 - Threshold
Sources and Related Reading
The following sources touch on, support, or provide context for the questions explored in Perceptual Choreography: how attention moves through an image, how composition influences visual exploration, how pictorial structure is perceived, and how looking at art engages perceptual and neural processes.
Rudolf Arnheim — Art and Visual Perception: A Psychology of the Creative Eye. A foundational study of pictorial balance, dynamics, direction, form, movement and the organisation of visual perception. Paul J. Locher, Elizabeth A. Krupinski,
Claudia Mello-Thoms & Calvin F. Nodine — “Visual Interest in Pictorial Art During an Aesthetic Experience” (2007). Examines the temporal process of viewing paintings, from rapid holistic impressions to more focused exploration of details. Tanya
Beelders & Luna Bergh — “The Role That Composition Plays in Determining How a Viewer Looks at Landscape Art” (2020). Compares intended compositional pathways with measured eye-trackingscanpaths and explores how composition can influence, without rigidly determining, visual exploration.
Rosa Sancarlo, Zoya Dare, Jozsef Arato & Raphael Rosenberg — “Does Pictorial Composition Guide the Eye? Investigating Four Centuries of Last Supper Pictures” (2020). Investigates the relationship between compositional structure and actual saccadic eye movements.
Nino Sharvashidze & Alexander C. Schütz — “Task-Dependent Eye-Movement Patterns in Viewing Art” (2020). Shows how viewing behaviour is shaped not only by the image itself, but also by task, attention,knowledge and artistic expertise.
Guy Cheron & Jan De Maere — “Scanpath EEG Dynamic, a New Perspective for NeuroaestheticConnoisseurship in Paintings” (2025). Reviews relationships among scanpaths, saccades, visual search,attention, working memory and EEG dynamics in the viewing of paintings
Fragments from the Studio
Fragments from my notebooks, written over more than twenty years - before, during and after work
PERCEPTION "I did not want to paint landscapes." "I avoided anything that resembled a landscape. Yet imagination assembles it into one." "Recognition is a point of entry, not the destination." "I am searching for a way of seeing in which interpretation, recognition and judgement are temporarily suspended." "Within the true space of the work, nothing needs to be explained. It can simply be experienced." BOUNDARIES "The work chose its own boundaries." "I did not add. I removed." "I cut from a larger painting the part that still wanted to continue living." MATTER "Matter is not passive. The visible is not innocent either. As a symbol, it acts; it does not merely signify." "The material had a will of its own." "I would have continued building it higher, but then it would no longer have remained a painting." "Even the hemp canvas had its limits." "The surface has to function." "I was not searching for the forms of nature. I was searching for the way nature works, in the shadows of reliefs and in the way material responds to light." TIME "It takes time to discover what a surface can carry." "I work on this painting until I know it by heart." "I did not finish the work because it was complete. I stopped when I finally accepted what it was capable of becoming." "Once an object is finished, one thing is evident: it exists, and has taken its place in the world." PROCESS "Painting is like playing chess with nature. Nature already knows the rules." "Painting: altering the fabric of reality." "Who said a surface can only be touched in one way?" "I enjoy the freedom offered by the many possibilities of painterly language."
Visual Notes
"It takes time to discover what a surface can carry."
Zsongás - 2014
"The work chose its own boundaries. I did not add. I removed."
"The material had a will of its own. Even the hemp canvas had its limits."
"Who said the surface can only be touched in one way?"
"I consciously build a painting to guide attention. I know the movement I see in it, but I don't know how it is seen by others."
HEXAMETERS, 2009
Digitized collage of details of my own paintings
Inspired by a poem by József Attila
MAJIK - A Recurring Image
For nearly fifteen years, the same configuration of hands, circles and bodies has returned again and again through print, stitch, painting and the folding screen form.
The MAJIK Paravents is its most recent incarnation.
