Zsófia Keresztes’ sculptures operate on the threshold of virtuality and reality, speculating how one world extends to the other. Keresztes is interested in the resulting fluid bodies or avatars, shapes shifting, forms collapsing; a body that is mirrored through desire, pain and empathy.
A reoccurring visual motif running throughout Keresztes’ works is a self-damning act of sharing, often expressed on bodies conjoined like Siamese twins. Keresztes’ sculptures are caught in their monumental inter-dependencies, dammed to their desires and bound by rope or chain. The tear shaped drop and sting motif threaded on dyed rope acts for her as a symbol for pain, compassion and empathy simultaneously. The latter are never singled out phenomena, they are being reciprocated and mirrored empathically, since neurologically, the distinction between what one feels and what others feel is not a clear one.
Following the logic of the ambiguity of emotional sensations, Zsófia Keresztes’ sculptures equally are amorphous bodies that bleed and flow into each other. Despite their monumentality, they maintain a moment of fluidity, two protagonist joined or mirrored, caught in an infinite state of negotiations.
The glass mosaics, which has become a signature material for Keresztes, mirror their surrounding and blur the boundaries of interiority and exteriority, where Keresztes’ ambiguous bodies begin and where the negotiations of consumption, defeat and recreation starts.
– Laura Windhager