Judit B.Bodó
(1969- ), Hungary
Painter, Visual Artist
"When I close my eyes, the outer image seeks its continuation within me, and relates to inner dimensions, like a map to a landscape. The imagination is key to creating a new and mysterious landscape that disappears from the outer space but arising from it this is what I tend to wander, live, observe"
In Judit Bodo's large scale "visual diary" paintings, thick layers of paint applied with powerful and energetic gestures alternate with subtle plastic marks, creating relief-like surfaces. In a trance-like creative process, the surfaces are saturated with wild, honest gestures through expressive, sensitive rustic layering, creating this dynamic visual poetry of bursting expression. The visual forms that emerge and are formed are the hardened moments of a process. All the while, the process itself becomes the final product of the artwork, which the creator consciously follows on her own journey as an inside - outside observer.
to create large visual diary paintings that serve as a window into her mind and experiences. These paintings aim to capture and express her inner thoughts, emotions, and memories in a visually captivating way. Judit envisions her work as a means of connecting with others on a deep and personal level, evoking emotions and sparking contemplation..Literate words hidden in abstraction.
What you want to communicate, finds its own art form.
VISION
Through her work, she aims to communicate her personal narrative and invite viewers to explore their own thoughts and feelings. The artist strives to create a body of work that is authentic, thought-provoking, and visually stimulating. She seeks to challenge conventional artistic norms and push the boundaries of expression.
While her values and themes encompass intuitive gestures, visual poetry, vibrant colors, embossed textures, and the interplay between micro and macro elements.
Flow (2009)
mixed technique painting on canvas,
99 x 99 cm
Butterfly (2023)
oil painting on canvas, soundproof foldable paravan structure, 180 x 150 cm
TOP
Majik (2023)
mixed technique painting on canvas,
made by three canvases, can be used as paravan or tripticon
210 x 150 cm
Twenty-three and half nr. 1 (2024)
mixed technique painting on canvas,
50 x 50 cm
Twenty-three and half nr. 2 (2024)
mixed technique painting on canvas,
50 x 50 cm
Twenty-three and half nr. 3 (2024)
mixed technique painting on canvas,
50 x 50 cm
Flow (2009)
mixed technique painting on canvas,
99 x 99 cm
Butterfly (2023)
oil painting on canvas, soundproof foldable paravan structure, 180 x 150 cm
TOP
Majik (2023)
mixed technique painting on canvas,
made by three canvases, can be used as paravan or tripticon
210 x 150 cm
Twenty-three and a Half nr. 1 (2024)
mixed technique painting on canvas,
50 x 50 cm
Twenty-three and a Half nr. 3 (2024)
mixed technique painting on canvas,
50 x 50 cm
Twenty-three and a Half nr. 3 (2024)
mixed technique painting on canvas,
50 x 50 cm
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Theme & Symbolism
MAJIK is the pure power of manifestation. Manifestation" is Latin "manufestus" meaning "palpable"/“manifest” and "manus" meaning "hand".
MAJIK is not magic. Without external tools, it is the original Co-creation, the directing of energies in a certain way, the management of the energy of intention. If we could see/sense and consciously direct the energies that make up both matter and consciousness itself, we would understand the effect of how the power of the mind manifests and what ultimately materializes.
Every creative process is a Majik - magical activity, where code-info passing through many different consciousness filters arrives in this density translated into the language of matter.
In the large-scale canvases of the triptych, hand-like figurative elements reduced to a minimum, reliefs and spontaneous painterly gestures, linework reflecting a more profound attention to detail, alternate with each other to create the basis for the dynamic principle of the work.
In the painting, the colour palette, dominated by a subdued white-blue-black-grey colour scheme, interspersed with silvery-gold hues, is a reference to this particular mystical event, which is the "Majik" itself.
suggested for: living room, office space
(Read artist profile)
Close this artwork
Find the price by color
suggested for: home corridor, office room
(Read artist profile)
Theme
Symbolism
What is the nature of reality? Are we the dreamers or are we being dreamed?
"We can come close to “Waking Up” if we dream that we are dreaming" (Novalis, German poet)
The Great Awakening is an insight into illusion and reality and their conditionality, where there is no "more real reality", since our access to "reality" is always mediated only through our experiences.
Part of the paradox is the question of how we anchor our consciousness to an identity. If we contemplate our waking dreams, once we start "contemplating" we are no longer fully present.
The dream experience described in the anecdote of Zhuangzi and the butterfly is a sense of self-awareness and two-self. It is a symbolic parallel to the dichotomy of life-death or waking-dream, or the dichotomy of any segmented state in a series of transformations. In other words, the anecdote symbolizes the tension between self and ego, between the physical and the spiritual soul, while the butterfly symbol itself represents, in a broader sense, the order of nature and the necessary "transformation".
The relief-like layers and the contrasting translucent surfaces represent a contrast between physical reality and dream, while the composition of the pictorial elements suggests a dream within a dream, a meaning reinforced by the deliberately fairy-tale-like representation and the spatiality of the 'wings' of the screen character itself.
In the Keylontic sciences, the representation of the 'sacred butterfly' represents the open circulation of energy, of frequency, from the higher dimensions to the lower dimensions and back again. There is a great deal of interconnectedness here, across dimensional levels, with other structural levels and ultimately with Source and the conscious self identity.
Close this artwork
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Theme
Symbolism
This captivating mixed technology painting combines digital and oil painting techniques to create a unique and visually striking self-portrait of the artist. The focal point of the artwork is the artist's face, which is depicted looking up with closed eyes and a serene expression of enjoyment. The artist's face is rendered with a pale complexion, emphasizing a sense of delicacy and vulnerability. Her lips are painted in a vibrant raspberry color, adding a pop of boldness and sensuality to the composition. The contrast between the pale complexion and the vivid lip color creates a visually striking effect, drawing attention to the artist's mouth and adding a touch of playfulness to the overall expression.
Surrounding the artist's face, blurred out lines create a sense of movement and energy. These lines add a dynamic element to the composition, suggesting a sense of the artist's creative process and the flow of ideas and emotions. The blurred lines also create a sense of depth and dimension, enhancing the overall visual impact of the artwork.
suggested for: home corridor, office room
(Read artist profile)
Close this artwork
Find the price by color
Theme
Symbolism
On the surfaces of the paintings "Twenty-three and a Half", the landscapes with their surreal atmosphere, the shapes suggesting dynamic movement and the reliefs in relief, which give the illusion of light and darkness, suggest the relative nature of things "near" and "far" respectively.
Coded visions translated into the language of matter create unusual, seemingly new "fields of reality".
Ultimately, what is "important", what is significant and what is insignificant, what is micro and what is macro, is determined only by the person who focuses.
There is a web of connections between invisible events and visible, measurable phenomena that we cannot see and therefore cannot measure - so our choice is ultimately always the same: to ignore 'information' coming through intuitive channels in favour of what we can see and measure.
Forgetting that the conditions of our existence are in fact created by invisible larger conditions... Whether it be the Earth as a planetary body ... ( 23.5 degrees is exactly the tilt of the Earth's axis... )
suggested for: home corridor, office room, living room
(Read artist profile)
Close this artwork
Find the price by color
Theme
Symbolism
On the surfaces of the paintings "Twenty-three and a Half", the landscapes with their surreal atmosphere, the shapes suggesting dynamic movement and the reliefs in relief, which give the illusion of light and darkness, suggest the relative nature of things "near" and "far" respectively.
Coded visions translated into the language of matter create unusual, seemingly new "fields of reality".
Ultimately, what is "important", what is significant and what is insignificant, what is micro and what is macro, is determined only by the person who focuses.
There is a web of connections between invisible events and visible, measurable phenomena that we cannot see and therefore cannot measure - so our choice is ultimately always the same: to ignore 'information' coming through intuitive channels in favour of what we can see and measure.
Forgetting that the conditions of our existence are in fact created by invisible larger conditions... Whether it be the Earth as a planetary body ... ( 23.5 degrees is exactly the tilt of the Earth's axis... )
suggested for: home corridor, office room, living room
(Read artist profile)
Close this artwork
Find the price by color
Theme
Symbolism
On the surfaces of the paintings "Twenty-three and a Half", the landscapes with their surreal atmosphere, the shapes suggesting dynamic movement and the reliefs in relief, which give the illusion of light and darkness, suggest the relative nature of things "near" and "far" respectively.
Coded visions translated into the language of matter create unusual, seemingly new "fields of reality".
Ultimately, what is "important", what is significant and what is insignificant, what is micro and what is macro, is determined only by the person who focuses.
There is a web of connections between invisible events and visible, measurable phenomena that we cannot see and therefore cannot measure - so our choice is ultimately always the same: to ignore 'information' coming through intuitive channels in favour of what we can see and measure.
Forgetting that the conditions of our existence are in fact created by invisible larger conditions... Whether it be the Earth as a planetary body ... ( 23.5 degrees is exactly the tilt of the Earth's axis... )
suggested for: home corridor, office room, living room
(Read artist profile)
Close this artwork
Find the price by color
Theme & Symbolism
MAJIK is the pure power of manifestation. Manifestation" is Latin "manufestus" meaning "palpable"/“manifest” and "manus" meaning "hand".
MAJIK is not magic. Without external tools, it is the original Co-creation, the directing of energies in a certain way, the management of the energy of intention. If we could see/sense and consciously direct the energies that make up both matter and consciousness itself, we would understand the effect of how the power of the mind manifests and what ultimately materializes.
Every creative process is a Majik - magical activity, where code-info passing through many different consciousness filters arrives in this density translated into the language of matter.
In the large-scale canvases of the triptych, hand-like figurative elements reduced to a minimum, reliefs and spontaneous painterly gestures, linework reflecting a more profound attention to detail, alternate with each other to create the basis for the dynamic principle of the work.
In the painting, the colour palette, dominated by a subdued white-blue-black-grey colour scheme, interspersed with silvery-gold hues, is a reference to this particular mystical event, which is the "Majik" itself.
suggested for: living room, office space
(Read artist profile)
Find the price by color
suggested for: home corridor, office room
(Read artist profile)
Theme
Symbolism
What is the nature of reality? Are we the dreamers or are we being dreamed?
"We can come close to “Waking Up” if we dream that we are dreaming" (Novalis, German poet)
The Great Awakening is an insight into illusion and reality and their conditionality, where there is no "more real reality", since our access to "reality" is always mediated only through our experiences.
Part of the paradox is the question of how we anchor our consciousness to an identity. If we contemplate our waking dreams, once we start "contemplating" we are no longer fully present.
The dream experience described in the anecdote of Zhuangzi and the butterfly is a sense of self-awareness and two-self. It is a symbolic parallel to the dichotomy of life-death or waking-dream, or the dichotomy of any segmented state in a series of transformations. In other words, the anecdote symbolizes the tension between self and ego, between the physical and the spiritual soul, while the butterfly symbol itself represents, in a broader sense, the order of nature and the necessary "transformation".
The relief-like layers and the contrasting translucent surfaces represent a contrast between physical reality and dream, while the composition of the pictorial elements suggests a dream within a dream, a meaning reinforced by the deliberately fairy-tale-like representation and the spatiality of the 'wings' of the screen character itself.
In the Keylontic sciences, the representation of the 'sacred butterfly' represents the open circulation of energy, of frequency, from the higher dimensions to the lower dimensions and back again. There is a great deal of interconnectedness here, across dimensional levels, with other structural levels and ultimately with Source and the conscious self identity.
Find the price by color
Theme
Symbolism
This captivating mixed technology painting combines digital and oil painting techniques to create a unique and visually striking self-portrait of the artist. The focal point of the artwork is the artist's face, which is depicted looking up with closed eyes and a serene expression of enjoyment. The artist's face is rendered with a pale complexion, emphasizing a sense of delicacy and vulnerability. Her lips are painted in a vibrant raspberry color, adding a pop of boldness and sensuality to the composition. The contrast between the pale complexion and the vivid lip color creates a visually striking effect, drawing attention to the artist's mouth and adding a touch of playfulness to the overall expression.
Surrounding the artist's face, blurred out lines create a sense of movement and energy. These lines add a dynamic element to the composition, suggesting a sense of the artist's creative process and the flow of ideas and emotions. The blurred lines also create a sense of depth and dimension, enhancing the overall visual impact of the artwork.
suggested for: home corridor, office room
(Read artist profile)
Find the price by color
suggested for: home corridor, office room
(Read artist profile)
Theme
Symbolism
On the surfaces of the paintings "Twenty-three and a Half", the landscapes with their surreal atmosphere, the shapes suggesting dynamic movement and the reliefs in relief, which give the illusion of light and darkness, suggest the relative nature of things "near" and "far" respectively.
Coded visions translated into the language of matter create unusual, seemingly new "fields of reality".
Ultimately, what is "important", what is significant and what is insignificant, what is micro and what is macro, is determined only by the person who focuses.
There is a web of connections between invisible events and visible, measurable phenomena that we cannot see and therefore cannot measure - so our choice is ultimately always the same: to ignore 'information' coming through intuitive channels in favour of what we can see and measure.
Forgetting that the conditions of our existence are in fact created by invisible larger conditions... Whether it be the Earth as a planetary body ... ( 23.5 degrees is exactly the tilt of the Earth's axis... )
Find the price by color
suggested for: home corridor, office room
(Read artist profile)
Theme
Symbolism
On the surfaces of the paintings "Twenty-three and a Half", the landscapes with their surreal atmosphere, the shapes suggesting dynamic movement and the reliefs in relief, which give the illusion of light and darkness, suggest the relative nature of things "near" and "far" respectively.
Coded visions translated into the language of matter create unusual, seemingly new "fields of reality".
Ultimately, what is "important", what is significant and what is insignificant, what is micro and what is macro, is determined only by the person who focuses.
There is a web of connections between invisible events and visible, measurable phenomena that we cannot see and therefore cannot measure - so our choice is ultimately always the same: to ignore 'information' coming through intuitive channels in favour of what we can see and measure.
Forgetting that the conditions of our existence are in fact created by invisible larger conditions... Whether it be the Earth as a planetary body ... ( 23.5 degrees is exactly the tilt of the Earth's axis... )
Find the price by color
suggested for: home corridor, office room
(Read artist profile)
Theme
Symbolism
On the surfaces of the paintings "Twenty-three and a Half", the landscapes with their surreal atmosphere, the shapes suggesting dynamic movement and the reliefs in relief, which give the illusion of light and darkness, suggest the relative nature of things "near" and "far" respectively.
Coded visions translated into the language of matter create unusual, seemingly new "fields of reality".
Ultimately, what is "important", what is significant and what is insignificant, what is micro and what is macro, is determined only by the person who focuses.
There is a web of connections between invisible events and visible, measurable phenomena that we cannot see and therefore cannot measure - so our choice is ultimately always the same: to ignore 'information' coming through intuitive channels in favour of what we can see and measure.
Forgetting that the conditions of our existence are in fact created by invisible larger conditions... Whether it be the Earth as a planetary body ... ( 23.5 degrees is exactly the tilt of the Earth's axis... )