IMPREINT- semantic

A few weeks ago the artist IMPREINT presented a new project with the sophisticated title ‘semantic’ that will run permanently in the refreshing and inspiring atmosphere called the ‘the space‘. With this new work the artist decided to engage the viewers on single words. I’m here to understand more.

IMPREINT Semantic (1)

How was this project conceived?
– Semantic is part of a bigger idea called ‘en plein air’. I run here this part where I invite the public to focus on a single word, in its meaning and understanding.
– I have the feeling that we are surrounded by a lot of cooked sentences, by many dialogues already prepackaged that don’t give the opportunity to think and reason enough with our mind. My proposal is to restart from the begin, to experience the single word, have a meditation about it, a confrontation on our interpretations and expressions. Minimize and simplify is the base for a better understanding.
The first word is ‘love’, what is love for you?
– An emotion, an instinct to evolve in choices. A synonymous of freedom and contrary of fear. But I’m working on it!
IMPREINT semantic

‘semantic’ – title: love

I found a connection with one of your first works ‘The series of’…
– They have similarity, the other was based in repetitions because I believe repetition slowly signs a trace on us. This is more about reflection and dialogue.
IMPREINT The series of

‘The series of’ – title: love

You told me that you leave the artwork outdoor because: ‘it needs to breathe’. What does it mean?
– They need to dialogue with the universe, take energy, atmospheric events. Like almost all of my paintings, nearly until the end are made in exterior because I need that they ‘conversate’ with the nature. Weather conditions, animals can modifiy my original work, so on the base of this ‘conversation’ I need to accept the transformations and work on it. If you feel and you are in balance it’s really harmonic, differently wouldn’t work because would be just ‘leave your work to the randomness’. It’s spiritual and not only physical, if you allow me.
IMPREINT 3.11.14

IMPREINT 3.11.14

Mentioning ‘en plein air’, what is it?
– In the next period I’ll take basically art actions in the streets. It excites me because I don’t know absolutely what will happen, there is just a general idea.
Is it going to be a sort of street art?
– More an art in the street. I like proposals, not impositions. In my opinion if it’s in public space, you should give the opportunity to the viewer to remove easily your work.
* * *
It’s interesting that an artist embraces the words in such a pure way given the sociological surroundings of this period. This work, semantic in general and this particular one love can be interpreted in many ways. I suppose many of us come up with the question: what is love? And even though the feeling is universal, the answer is so individual. …personally, I love this idea. And what’s the best about it? That it never runs out.

Weekly Photo Challenge: Wall – IMPREINT’s Self portrait

The Daily Post announce a photo challange every week, choosing a theme and they receive hundreds of curious submissions. This week the theme is ‘wall’ and I’ve decided to submit a photo of IMPREINT‘s Self-portrait because I find it interesting how it transforms the way how we see the both the wall and the artwork itself.

The location of the wall is IMPREINT space.

IMPREINT self-portrait

‘Self-portrait 1’ from the archive of the artist

In response to Daily Posts Weekly Photo Challenge ”Wall

IMPREINT – Cut off

It’s 4 o’clock in a cold Monday morning and I’m standing in Piccadilly Circus. Not a usual timing for a walk in the centre of London – and it’s not even the reason why I’m here.

Among others I have been invited by the artist IMPREINT for a shooting of what I knew not a lot. I come to know that we are here to eyewitness the shooting of a new project titled Cut off. I see a cardboard: simple, hand-written, even shabby a little bit. Cut off, as I learn is connected to homelessness and involves several initiatives. The reason for the shabbiness is that this individual piece is advanced in years, but there is a whole (new) series with the same concept, which will be the protagonist of a series of photos taken weekly in different locations where people live or beg on the streets.

I know a lot of people who are touched by the argument of homelessness, people who volunteer, and yes, I have heard about artists treating the subject. But here something is different. We are present to take photos regarding houseless people, but there is no person in the frame. ‘The picture is sterile, the person is taken outside of it – cut off – with proposition. It’s obvious what happens in the scene. There’s no need to see the faces, we see everyday, everywhere. But there is need to face the fact that people still live on the street and the number of them is increasing.’  It’s a distinguished approach and it makes me curious to know more.

He started the project ‘Cut off’ on the 1 of January in 2015, but the sensibility dates back much further. He has had the idea in 2009, and already handled the argument in the so-called White frame collection and the widely popular project Portraits.  ‘In 2009 I had found myself with the prospective to beg and I was looking with more attention at who was asking, who was giving and I thought that something was wrong. I didn’t see help in this action because nothing changed in the end of the gesture. So I was thinking you should ask for equality, for an opportunity to change your condition but at the same time do your best to make it happen. I created then the cardboard to represent this metaphorically, started to go out to experiment, taking a series of pictures of myself to feel the requested condition – clean-shaven, showered and well dressed.

Many find comfort in self-pity, using, celebrating it. In IMPREINT’s persona there is no sign of any mimosa-personality. I don’t get to know much about the details of this period.  It’s clear that his focus is on the present with a humil observation of the past. This might be what gives him the confidence to declare that we all need to do our best to make a change happen. How would he describe the phenomenon of homelessness then? ‘Embarassing. Like poverty or the fact that children die starving every day.’ For some reason, it’s still present in the society. I try to find out about his opinion, why does someone arrive to the condition of living in the street? ‘It’s a complex and delicate argument, you should talk with someone who works in these social fields. My opinion is that everything start from a pain, a pain bigger than you and that you can’t control.

Though Cut off meets the eye as a photographic project, IMPREINT is a painter and uses photography as a tool of communication. The photo is not the artwork on its own, it’s meant to conversate, therefore I’m pretty sure that there are elements hidden from our imagination ready to surprise us. But how do they conversate and where do they bring us? As for me, they are images with just the right amount of mystery to understand the situation yet make me remember and reason. It’s not necessary to see the tragic image of a homeless, perhaps it would make it even easier to turn the page considering that our eyes are used to it.



Living in a period when everyone seems to be in charge of advices on life – from clothes to artworks filled with cliche-like sentences and guidelines one might wonder if he’s the next one to indicate us how to live, but it’s enough to look at his work to perceive that he always consciously leaves the viewer to arrive to his own interpretations. ‘I’m an artist, my approach is always artistic at first. Started from a concrete idea, I just decided to be there with humility and open mind, to feel and see what happened.’ He is determined to handle Cut off without judgements or the intention to change things, taking his part by bringing attention to the argument. ‘Just showing what is in front of us without any drama, an aseptic approach in the images.’

I understand his points – on one hand if he was able to stand up, so could be everyone. On the other, he questions the society: is it really correct that our accepted process of facing the phenomenon is giving some coins? Should we really be allowed to shrug our shoulders and continue our lives as if nothing was wrong? I do understand his points, yet I still hear the alarm in my head: easy target of banal criticism. When I enter the conversation, his answer is immediate and confident: ‘You shouldn’t think about the critic, it’s the belief in what you are doing that is important. This is the part that you need to understand and clarify very well, if you believe. After, everything becomes natural.’ There’s no doubt, that IMPREINT believes in everything he ever does. His projects with their unique perspectives often challenge the viewers, make us push the boundaries of our own understanding. This certainly has to be the result of his disciplined attitude towards his existence. ‘In my opinion criticize in itself is like protest, is the simplest way and with the fear that someone can criticize or misunderstand, in the end one just finds an excuse to don’t do anything. We spend our life remarking our status and differences. Enough separations between us, ‘these people’ are us!’

from the archive of the artist (2009)

Follow IMPREINT’s the project here.


Have you went to an exhibition and became part of the artwork?

That’s what exactly occurred to me when I went to see the presentation of a work of IMPREINT called I don’t know what you see.

The work is part of an open series of mirrors that the artist makes since the begin of 2013 adapting mirrors that he finds or buys in any format that inspires him. I was asking him about the work and in return he asked me to stand in front of it.

It felt really weird. I was standing in front of a mirror, which happens to people every day, part of our daily life. But I entered in a strange state of mind, transported by the words of the mirror: I don’t know what you see. I was looking in the mirror, seeing myself the way I am, the way I see myself. The words made me understand how mysterious it is: we do our best, trying to bring the best of us, but never know what arrives to the others.
Keeping looking in the mirror I started to look at it, see it in a different way: a serious piece of art, a declaration of an artist: I don’t know what you see. He, as an artist does the same like we all do: working hard, doing his best, but never know how the others see it. How does it arrive to the viewer? There is always a distance between him and his artworks and the observer. Looking at an artwork we always have a first impact, an emotion that is personal and not necessary what the artist wants to display. And that’s what makes an artwork good: the ability to innocently wake up emotions inside us.
IMPREINT I don't know what you see

picture from the archive of the artist

IMPREINT: Portraits – magyar nyelvű bejegyzés

IMPREINTről már írtam egy bejegyzést korábban. Most új projektjéről szeretnék szólni, melyet Portraits-nak hív.
Előzőleg már írtam, hogy IMPREINT nem (csak) egy személy, hanem egy koncepció, amelyet Ő alkot, határoz meg, de bárki részese lehet. Azt vallja, hogy a művészetnek hatása kell, hogy legyen a társadalomra. Ennek érdekében mindig igyekszik munkáját megosztani az emberekkel oly módon, hogy a határ ne mosódjon össze az általa készített (és értékesített) műalkotások és azok közt, amelyeket az emberek bevonásával készít, és amik inkább kiegészítik a munkásságát.
A Portraits pont erről szól: az emberek bevonása a “Balloons” kiegészítéseként.
Művészetében kezdetek óta kifejezésre juttatja a az Őt foglalkoztató, a társadalmat érintő kérdéseket. Azonban egy valami megváltozott az évek során: bár még mindig foglalkoztatják ugyanazok a kérdések, azokat már úgy kommunikálja, hogy Ő is, és az -aktív vagy passzív- résztvevő egyaránt jobban érzi magát általa. Ez megfigyelhető volt a tavalyi év során elkészült stop motion videóban is, illetve most a Portraitsben is: ugyanaz az élethelyzet egy lufival társítva akarva-akaratlanul vidámabbnak tűnik, anélkül, hogy megtagadná az eredeti környezetet.
A Portraits, mint projekt 2013 december 16-án indult és egy évig tart. Lényege, hogy az emberek küldhetnek magukról egy képet, amin egy lufit tartanak. Azért hívja portrénak, mert a lufit tartva mindenki megváltozik kicsit, és így az már nem egy sima fénykép az illetőről, hanem egy elbeszélő portré. A képeket emailben lehet küldeni, vagy a hivatalos facebook oldalára feltölteni, ahol már jópár kép található, többek közt Japánból, Algériából, Franciaországból. A képeket összeköti egy közös pont a világ minden pontján: egy lufi.
IMPREINT Portraits IMPREINT Portraits IMPREINT Portraits IMPREINT Portraits IMPREINT Portraits

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Portraits by IMPREINT

On the 16 December 2013 IMPREINT launched a new project called Portraits that will run for one year.

IMPREINT is one of those artists who can still show novelty as much in his artworks as in his social involvement. He declares the importance of the social impacts of an artist, so he proposes always something to involve the people in the things that he’s working on in the moment. His project with the children Save me. has earn popularity and is growing around the globe. His new proposition is Portraits, where everyone can participate by sending a photo of themselves holding a balloon. Portraits is strongly connected to his project Balloons, which is based on 1000 hand painted balloon-paintings.

On the opening event of Portraits in Notting Hill, London he gave a talk where I had the chance to learn more.
“It’s a project that I started with the simple intention of making something together. Is my idea of social artwork: is a concept, everybody can do it, and take part of it.
I’ll run this project for one year joined by whoever would like to participate. I’m interested in making it interactive and see where will bring us. The intention is to exhibit the pictures promoting social cause.”
Portraits by IMPREINT
The aim of the artist IMPREINT was to create a concept and not only a person, he tells in an interview on his site. He is able to manage this concept always pure, seperating his own artworks from the projects that involve the public directly. Portraits, as I said is connected to the Balloons, for which he created a video earlier what he described as “the opportunity to see the same scene with different prospectives”. By participating Portraits everybody can become part of the concept IMPREINT, express himself/herself unified by a balloon. But it will always be clear that all is based on and ment to complete the real artworks: in this case the balloon-paintings, that are made only by him, who is the artist behind all and who himself is also part of the concept: IMPREINT.
IMPREINT Portraits Portraits by IMPREINT

To find out more and join the project visit or