Installation of burned books and oil painting, Mixed technique, 2017, variable size
The pages of the books cannot be turned anymore, as the books themselves gained a new meaning when they got glued together and got repainted. The books, original Hungarian editions from the 1960-70‘s, were acquired from second-hand bookshops in Budapest. I burned the books and dipped them in natural glue that I produced myself from a rice soup. Afterwards I let the books dry for a week. With time the books became as hard as wood and lost their original functions completely. At this point the books gained a new meaning. Then I painted unfinished figurative oil paintings in the middle of each book (e.g. hands, one or more faces, a landscape). This method pay homage to the memory of the big book-burning which took place 2200 years ago during the first Chinese emperor Qin Shihuang. It also refers to what people do to their culture, namely that they destroy it and then try to rebuild it.
Center of the World
Oil on canvas, Cm 80x900, 2017
two-faced woman with a male body stands out as the focal point of the artwork which symbolizes the center of the universe, yin and yang (female and male). The body parts represent the eight fundamental principles of reality: heaven, earth, fire, water, wind, thunder, lake and mountain.
Oil painting on mirror, 2017/2018
This series of painting engage the observer in a visual game and invite him to question his perception of reality.
“Engage with the artwork and distort your own perception. Grab a friend to help take a photo. Position yourself so that your face lines up with the fragmented face in the artwork. Snap a pic and see how it has changed.”
Oil painting on marble, canvas, carton etc
Installation, 81 pieces miniature of cm 2x2, oil painting on wood,2016-2017,
Installation of 81 oil miniatures, each approximately 2x2 cm. The choice of the number 81 is not random. 9 is in fact a number that in China represents eternity; something perpetually and constantly moving and developing, without ever ending. 9 multiplied by itself results in 81, a number formed by two digits that also add up to 9. Everything flows in an eternal flow, in a continuous cycle. With these 81 small paintings containing themes such as peace, violence, homosexuality, discrimination, I intend to highlight the importance of small isolated elements as part of a broad and heterogeneous reality. The world, in its immensity, is made up of all these little fragments, which pass under our inattentive gaze, without arousing our attention, but they embody the truest reality of our society and it is toward these that I turn my eye, to return their due importance.
Installation in Mabos Museum, Italy
Oil painting on photograph
Mixed technique, cement, books
Critical text by Luca Beatrice:
Exactly thirty years have passed since the fall of the Berlin Wall. It was the 1989, a year of transformation and of historical events as for example the World Wide Web invention. Coming to art, instead, at the Center Pompidou was inaugurated the exhibition Les Magiciens de la Terre, the first major international exhibition that united western artists with other worlds, at that time considered very far, if not exotic. Globalization was therefore coming to swift steps. But returning to the image of the Wall, for us Westerners there is no suggestion (and today no celebration) that does not refer to that extraordinary need to break down barriers for a new desire for freedom. On the other hand, every wall that is erected proposes the sense of limit, as if history had really taught us nothing. The Wall is also the main theme of Hu Huiming's installation, but the inspiration feeds once again on the relationship with the culture of origin. Inside each cement brick that forms this barrier, a pressed book is hidden, which can no longer be accessed or read. The episode refers to a specific historical event: when Emperor Qin Shihuang burned the books, the ninth generation of Confucius, a descendant of Kongzhen, hid many classic texts of tradition within a wall. All the the books were got safe, saved but illegible. Later, at the time of Emperor Hanjing, Liu YuYu, prince of Lu Gong, expanded his palace and demolished the original house of Confucius. So nothing remains of the wall, and this is an extreme attempt to bring it back to life.
KUHAI苦海/The sea of bitterness
Painting, Mixed technique