’On the second day of Creation it is hardly known what the world will be like when everything is on its right place, and it is also not considered if there will be enough proper place for each and every thing. The case could be similar when an artist creates supposing he possesses something to create from.
No doubt, that enough material, wish and talent were given to Sándor Badacsonyi which he can form his creatures to his own image from. […] Considering his age he is at the one third of his carrier. Unfinishedness concerns not only particular pieces but the whole unit under process. Moreover, studying his pages the skills in design, graphic and in techniques are rather given talents not mere results of soul-killing studies. Since his preferable genres are etching and engraving his works are even more outstanding from the beginning of his career until today.
It is better to know: engraving is the highest level in graphics. It does not let space for improvisation because each line is final. If the steal cut a groove on the copper plate it is problematic to make it disappear. The often fine-moving hand is put to the test by the material. […] And in the case of this technique the tool is pushed, the line starts from the bottom upward; the moves are opposite of the ones at hand-drawing and it should remain unnoticed.
No wonder that today there are only a few artists who try to work with this technique. The process might be learnt with less difficulty but it does not work without graphical thoughts. This technique is to illustrate not to project obscure instincts.
Badacsonyi is not lack of a say in the matter. On his sheets allegoric scenes are happening. More precisely, the action stops for a moment to be timeless by which the domain of the prospect is broadly spread. That is what the variety of motives serves as well. For example, in the picture Animal trainer (brush drawing) there is a man, who is wearing medieval-like outfit, in company with a bird, there is also a lizard from the prehistoric era and a strangely rigged up chair expressing: here everything is happening in the time beyond times. Alas, nothing is happening because the artist stopped the activity to enjoy or to be horrified by the absurd existence of the weird stage and characters. Framing the scene involves that the connection between the landscape, the objects, the animals and the human figures is due to the order of the composition and not to taking part in the shared rhythm. They exist beside but not with each other. They are lonely even in a group.
Whatever techniques the artist chooses he finds pleasure in presenting his professional skills. His brush paintings (independently form their size) are made with the precision of miniature painters. In his pictures the patches consist of tiny lines – paint effect is reached by graphical means.
To be sure he is aware of it the best: his talents should reach such a level of artistic precision where mannerism is not a danger and he is not afraid that the graphic beauty becomes syrupy and refinement turns into genteel manner. It is what his sensitivity to sour tones helps. His characters are mostly grotesque – or the situations they are in. Badacsonyi does not keep himself surrealist but his views suits surrealism the most comfortably. But, of course, there are several ways within surrealism. His way is a bit romantic. He learnt great but different views in great schools from great but different masters in spite of this it is crucial he always creates a coherent unit of styles in his each piece of art. […]
In modern art there are only a few real pieces of art. Badacsonyi has produced some projecting his secret desires and distress which share ours. He has done these when his profession seems to decline. It happens when art exhibitions are similar to the Muppet shows. As if a competition went on in which artists are competing who could give the less out of himself and his profession.
But this behaviour involves its own back-effects in sculpture, painting and graphics which are well represented in Badacsonyi’s art. The arc of a thrown stone could be calculated from its mass and the forces evolving during the movement by mathematical means. We must not forget about the important factor of inertia, though. But the arc of an artist’s career could only be predicted. Concerning Badacsonyi’s it is arcing upwards directed by charisma and talent.

Kortárs Magazine November 1988

‘The Hungarian artist is not only a representative of surrealism but romanticism throughout his works presenting deep emotions […] Figures and objects are placed beside each other in a stage-like space irrationally, their far-fetched combination make the coherent stories alive. The effect of the pictures is anecdotic. Although, they are not in strong connection with certain pieces of literature the artist is tied to it by his thinking. However biblical and mythological figures appear in several pictures their symbolic presence raises them above the common iconographical pattern and they carries more general meanings among new dimensions.
In some pictures female figures with bushy, dishevelled hair – often naked – are standing in the centre of the scene just like in The Lurkers engraving in the paraphrased scene of Susanna in the bath from the Old Testament. In the Fallen Angel we can also see a monumental female figure but in opposite meaning of the above. Here it is used to represent a negative event, a failure.
The surroundings express the insecurity in time and space. The artist increases the meaning with artificial wings where he mingles the vegetal and geological shapes. Bald rocks or rampant jungle domineer the landscape. […]
Badacsonyi’s pictures are so exciting and intellectual that they must be kept in mind for long.’

Budapester Rundshau 11 July 1988

‘Badacsonyi exhibited his graphical works and brush drawings in Salgótarján in Museum of  Nógrád. The artist, graduated in 1974, has been taking part in art exhibitions both in Hungary and in foreign countries since the middle of the 70’s – individual exhibition in Germany (1979)- his works were also displayed in the Zichy Castle in Óbuda where an exhibition was held entitled ’Surrealist graphics’ or in drawing-biennials of Miskolc and Salgótarján. […]

Concerning his technique his analysing needs which are manifested in his object-like visualisation, respect of artistry, graphics and engravings widened the modern ways of the Hungarian contemporary graphic art. The combination of classicism and a fantasy-world, the representation of the existential problems in symbolic metamorphoses brings his graphics and brush drawings into one coherent vision which holds a kind of ghastliness[…]

Badacsonyi, who himself is a learned man, does not hide his knowledge of literature, history, and fine arts and, bravely, employs references to biblical or ancient Greek-Roman mythology […] He is not afraid of blaming for timelessness, being too historical or mythological. He catches the tense of the moment reaching the last minutes of artistic creation even if it had happened thousands years ago expressing the emotional precipitation of one of the features of our era. He goes back to mythology in a way as he is reforming it at the same time: the mythological material is an opportunity to take part in the great human adventure being formed in ourselves.’

(Tóth, Elemér)

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