katapila

cool, delicate geometric figures bathed in light blue-gray, cautious colours after the postulated end of retinal art: the angular and briefly flickering reticence, both light and dark grayish blue occasionally dominated by white, square and rectangular shapes colliding with irregularly shaped blots of colour, a cautious inundation of movement, an apparent attempt to make everything else disappear. menacing or conciliatory cloud formations, caterpillar-like arches which are reminiscent of turner’s heavens. eruptions, golden, dark gray or tinted black, pour over the peaceful, barely glimpsed goya-gray; the clear, quiet primer pours over subdued shades of blue at an indecently gradual pace. distant constellations flare up, revealing how close the distance is. the only elements which permit the eye to rest attempt to meld, no, not meld, not merge but unite with extroverted restlessness; these two elements remain separate, watch each other, approach and then turn back, each keeping the other in sight. the same is true of the sound and picture, the video images and music: fusions and separations. their insistence on maintaining separate identities, independent, stubbornly willful and shot through with the desirous persistence of their approach,
a correspondence of sound and image accompanied by the velvety feel that something is being born. billy roisz’s work demonstrates the art of precision: despite all its complexity katapila remains reserved and unassuming, refusing to spell everything out, merely indicating what can be when the moments during which we were able to see have past.
(burkhard stangl)