In Tamás Todor’s paintings there often appear words, inscriptions and sometimes also names. He takes care that these should not be legible - think of the tags used in street art – so that the text can be decoded only as image. The inscription “Sora” provides an exception. This was inspired by the red neon sign of the Sora Shopping Center, visible from the artist’s studio. Probably even this would not have survived had the artist  not discovered, with the help of Google Translate, that the word صورة  (ṣūra) in Arabic means image, painting or form. This coincidence gave the word the right to live on in the painting, of which it is a definition – as if we were saying “This is a painting”.
The calligraphic signs are constantly being swiftly brought to birth and dissolved in the sea, together with the other forms – fish, eyes, spring onions, other vegetables, brain and cranium – which show themselves for a moment in this organic carnival. On the tree-trunk like form in the centre of the image, between water and air, can be observed, from one canvas to the other, the simultaneous play of birth and doom. In fact, this vision has something of a scenic quality, recalling the way in which the Surrealists made the unseen visible by placing it on the theatre stage of a dream. The landscape in which Todor locates his “stage” has dreamlike qualities: night and day can exist at the same time, planes can intersect. Constant change suggests the passage of time, alluding to a narrative which, even if it does exist, still neither has nor can have any conclusion since everything in the painting is simultaneous, with decay and birth inseparable. Thus, such ideas as “serenity”, “purity” or “dirt”, which could be used to describe Todor’s colours, have no meaning here, since the images move beyond conventional dialectics.
The paintings are realist, as they do not create a myth nourished on fantasy but rather look through those cracks in reality through which the events of quantum physics can be seen with the naked eye and thus represented.
Tamás Todor is a painter: he works within the four corners of the canvas, on the surface. This is why he has preserved the inscription Sora in legible form. Even though the pigment coalesces into an image on the canvas, the picture is only a collateral effect of the act of painting. This process seems to be the more important factor, in that Todor does not conceptualise or fetishise it as the abstract Expressionists used to. The man with a paintbrush, standing before the canvas, constantly hurls himself into simultaneously experiencing birth and doom.