“…Vertically elongated images give a seemingly different, yet universally valid slice of reality, and if horizontal lines of action or motifs are formed within the vertical composition, the balance of man in the world, the so-called universal cross, is drawn. It can be clearly seen that the figures appearing in the material environment formed in the aftermath of decisions, which are already associated with a permanent meaning and testify to deep sociographic, ethnographic and folk art knowledge, take a position perpendicular to this. For example, the imaginatively connected lines of trees, buildings, and appearing faces, heads intersect, creating a rhythm that initiates a movement that then reminds us of the beating of hearts to death, that is, the rhythm of life.
This rhythm is intensified in the representation of tones, shades, mass-like, dark and light surfaces. Whites light up, light colors clear. The colors used become a uniform, clear and unambiguous quality, in full harmony with the composition and the surface filled with meaning. Meanwhile, Imre Égerházi follows the laws of realistic representation, but at the same time the monotype makes the spectacle more orderly and abstract. The technique highlights the realistic theme from the realistic level, making it more atmospheric and internally more abstract…”
“…In many places, character and destiny does not appear in the face itself, in its depiction in Imre Égerházi’s graphics, but in the depicted situation, in the radiation created from it. Thus, with simple tools and wording, it is possible to express, for example, basic human qualities, love, fear, or, as we see in one picture: grief without seeing tears, mourning faces or gazes, because the whole painting becomes a gaze…“
Ferenc Vitéz
(Hajdú-Bihari Napló, 30th November 1996 issue)