In the darkened room lines and dots formed by a red laser light are projected onto the walls, breaking up space with vertical and horizontal lines. The geometrical rigor of the graphic grid is dissolved by the randomly moving and oscillating virtual structure created by the airflow generated by the visitors entering the room. Their movement dislodges the chrome plate opposite the projection box from its stable position. The reflective steel screen absorbs and reflects some of the light beams, transforming the work’s environment into a pulsating organism. The black optical box, which emits ruby-red laser light, is an artistic device Fodor uses to create his “light paintings” on canvases with a long shutter speed, evoking both the physical and tactile surfaces of painting and the weightless immateriality of abstract photography. With Carmine, an ephemerally created space that does not exist in reality, the artist gives visitors a perspective that corresponds to the uncertainty of their own existence. He provides a mirror image of a world full of utopias and dystopias, in which past, present, and future are intertwined.

In the works of Ben Fodor (1953, Dorog), fiction and reality engage amidst a dialogue in a strange time warp, creating situations where visual spaces are created that override and transcend the conventional act of the eye seeing and trained on the perspective of the classical Renaissance.