In Égerházi’s paintings one looks for the spirituality of the Bulgarian history incarnated in our present, an identity still strong after 600 years of Turkish oppression, the romanticism of the streets oozing with the culture of the ancient. Therefore, the mementos of the ruined city of Preslav fill with archaic notions, Madara’s arabesques of stones. Shumen’s culture also has fragments of Hungarian history: the campaigns of Hunyadi, the lost battle of Varna, the 100-day visit of Kossuth in the city, and the house he resided in (which since became a museum). Égerházi sometimes amasses these, but at the same time puts them in order, not as something illustrative but rather a uniform and internally felt poetic experience. Elements of this atmosphere are kept on a leash by a strong structure. Like in the atmosphere of “Kinyílás” is kept together by a few ribbons of lines, or in “Naplement” where graphically it is divided into parts, and in “Sumeni török negyed” he goes into details, and “Preszlávi romok” he operates with gradients parted by geometry. The vision of Égerházi is primarily graphic, scale related, but at the same time gradients, from his rich interior, are locked between lines. And exactly this uniform character, this style leaning into romanticism, the representation or “feeling out” the pictorial structure is what sometimes become one-sided. Égerházi utilizes the cleanness of picturesqueness, his brush creates sensitive and arrested color compositions, but surely his creations would benefit from using more colors besides his basic choice of warm browns, resulting in somewhat toning down the structure of his art and, at the same time, raising it.
All this could lead to the advancement of his pictorial and graphic style, alas his artistic present, as said by Ervin Tamás, is also “represents an artistic culture of something that matured for a long time and based on the deep knowledge of the self.”
Ervin Tóth, PhD.