Reka Nemere’s soft and hazy landscapes from her early periods, resembling those of Scandinavian and North German painters, and also the still lifes and interiors she painted earlier in her career, were conceived on the borders of the abstract and the figurative. Yet they remained on this side, the side of the image, observing from here the domain where narrative, which she seems to have needed at all costs -at least to the extent of identifying the space in order to preserve the meaning of the scenery – is abstracted away.

This has not changed in her works of the past few years: despite the ‘austerity’ of the spectacle and of the motifs, the spatial connections in her pictures ore complex and intricate. The concrete and quasi planes seem to interconnect and overlap, but what happens in fact, is just that the reality that can be recognised and the reality that con only be surmised flirt with relativity. The themes and motifs of her paintings function both as objects and as colour surfaces. However, while in her earlier works this duality, which adds to the complexity of the image, was almost carried to the point of the post-conceptual situation of the picture-within-the-picture, in her most recent works the meaning associated with the landscape, the concrete relationship between the elements of the image and her own perspective have become much more emphatic. The pictures she painted based on photographic images of football fields illustrate, for me, not only the eerie unity and ambivalence of ‘real’ and ‘invented’ geometry, but also express something of the mystery of the language of gestures that characterises the accidental choreography of gestures and colours. While some of her forerunners in ‘sports painting’, such as the Russian Alexandr Deyneka, depicted the ‘glory’ of the body, and those like the French Nicolas de Staël captured the dynamism recorded and reflected in the dance of the football strips, Nemere ‘depicts’ the subject cost in shining green, in a form of embedding, through the accidental activity of man just flickering in the world, sometimes appearing only as a point of a comparison.

As Bianca Maria d’lppolito says: “Beyond the borders of the already existing, real and ordinary world there is another world in the ‘imaginary spaces’, as Descartes says in his book about the world. Descartes’ new world requires the existence of an ‘elsewhere’, a new kind of place that accommodates the Other, so that there are new kinds of instruments that make it possible to construct the Other. However, it takes pain to set this other world into operation: while this own, strict order is established, this Other starts a chain of disruptions and contradictions within the old, customary world that fills ‘reality’ with a disruptive anxiety.”

István Hajdu