Enikő Daczó pushes the boundaries of intimacy. She is preoccupied with sexuality and its ways of communication, gestures, mimicry – everything that is instinctive and authentic in them. She is sensitive to reflexes, desires and fears embedded into social stereotypes, determining sexuality and especially womanhood. She creates motifs with her art. Faces, sexuality, the body: balloons, mirrors, nylon foils, rubber gloves, cables and shoes are recurrent motifs in her art; they accompany, organize and transluminate the series of her works – including her paintings, drawings as well as her installations and live art manifestations. They accompany her artistic and curatorial activity, whether it be the Baby Project, her work carried out in the Altus Contemporary Art Club, the exhibitions Beauty and Shoes or international workshops or symposiums... She is attracted to these means almost obsessively, she unfolds through them the questions usually arising from her own life situations and states. In this respect she is an instinctive, curiously experimenting artist. She ripens her contents for a long time. She reaches in this way a clean and simple way of expression most of the time. She carefully selects her means. She only keeps what is absolutely necessary. Her message becomes powerful due her minimalism, her strange associations of material and content, her manifestations often acquiring monumental dimensions – which she may have brought with her still from the university years.
Art historian Eszter Túros
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