Reka’s works form a series of interpretations of intimate spaces partly hidden, partly revealed, where the revealed part acts as a gateway to fantasy leading to a covered and invisible reality, suggesting that there is more to discover, a precious secret or a shocking surprise, exploring the possibilities of the materials by way of covering and exposing layers of paint and metal. Focusing on the principle themes of curiosity, the craving for exploration and for gathering new experiences, she attempts to construct a discourse between the tangible material and unconscious mind. The interest in the connection between the human psyche and the physicality of materials are apparent in her dynamic pieces. Reka attempts to create an intense visual experience through the use of copper as light source painted, carved and sanded, drawing the attention into its flaming depth and the contrasting dark or muted colours. Often the direction of the movement which dramatically exposes this light-source is highlighted by marks in the paint sometimes so intensely that they are carved into the base material, discomfiting the exposed surface.
She often uses acrylic paint as a common painting medium in an unconventional manner handling it as if it was a sculptural material that creates a three dimensional object, formed once dried, more ‘arranged’ than ‘painted’. The material transforms balancing its identity between paint and structured fabric still holding the memory of the knife-marks on its surface. The resulting marks perform a narrative and conceptual duet with the original attempt to tackle curiosity, whilst simultaneously bringing the material a renewal by creasing, folding, stretching, wrapping, cutting, tearing and pulling. The delicate surface is reminiscent of natural geographical forms shaped more by the elements than a human touch, whereas the glossy plain colouration emphasises the physicality of the experience, the bold sculpturesque qualities without distraction, forcing the viewer to be close and personal with the work.
Her work attempts to bridge the gap between concept and aesthetics. A certain expansion of this inherent duality of strong physicality manifesting in the importance of methods and materials with the importance of meaning and effect on the other side persists throughout the rest of her practice. Reka utilises a lexicon of imagery drawn from various sources, mainly from photographic images she makes of her close environment focusing on details most people would consider irrelevant. She has chosen curiosity as the focus of her practice and explores its triggers such as light towards which we are drawn to.
“With a simple poetic detail the imagination confronts as with a new world. From then on the detail takes precedence over the panorama, and a simple image if it is new will open up an entire world.” (The Poetics of Space, Gaston Bachelard, 1969, p.134)