A bit of a paradox. Or at least declaration that such paradox exists. Certainly, maybe, not to those, who tend to think that colors and positive moods are great illustrations or a base of graphic design.
Precisely from these words I started my visual–verbal acquaintance with David Foldvari. After opening the book with various illustrations, the eyes catch something that falls out of the overall context. A dark and “unlicked” till the end graphic, with its entity shouting more than “I am a concept of a pretty illustration”.
However, for the further beginning – an amount of necessary knowledge about the author himself. David Foldvari – one of the most distinguished illustrators–graphic designers of this time. His roots reach back to Hungary, the city of Budapest. However, his last 20 years were spent living and creating in Great Britain. “<…> currently living in Brighton, always looking for somewhere else to live.” The creative and lifelike inconsistency, from Latvia to New York and so on.
The dependency. However, David is not a total example of a freelancer. Now he’s keeping himself under a wing of a quite powerful company “Big Active”, which unites more than ten various specialists of graphic design. And in the entirety itself, turns its action mostly towards books’, music album covers’ illustrating and the visual presentation. The contribution of David Foldvari is not very feeble and, as one of the most successful projects, we can mention the typography of Beck’s album “The information”, which was almost “none”. But no, don’t be surprised, not such, in which there was nothing. The buyer himself simply could have created whatever cover he wanted on a presented white background with the band’s logotype, from the graphic add–ons, given in the set. Precisely for the contribution to the mentioned project and involvement in the “Run London” campaign for the Nike Company, in 2007 David Foldvari got a D&AD award. The list of other clients of his is quite impressive: “New York Times”, “Texas Monthly” editions, gladly published abrasive and more or less political illustrations. Also, the organization “Greenpeace”, “Penguin Books”, “Island Records” etc. I should not forget exhibitions that let people to get a closer look at the creation of the illustrator, from personal exhibition in London to Illustrative show Berlin and Paris.
People say: what the fuck is wrong with you?
A standard reaction to a bit or even very nonstandard object. In the shortened meaning, such definition fits the David Foldvari’s creation. No one is left apathetic and if they are, it touches the subconsciousness of apathy so that he won’t feel it. As I mentioned earlier, we won’t find an abundantly colorful and fine – cut “eye candy”. The author strikes grossly and often there, where it hurts the most. Social and political themes are definitely not strange to him and, moreover, includes the global relevant disasters, such as terrorism. Often indirectly, not obviously, so that there would be some space for the viewer’s imagination. The people in the illustrations are sort of affected by some sort of negative, not so easily identified emotion or cynical, baffled, downtrodden. Also, compared with animals, wolfs, dogs. Maybe it’s a reaction to the process of today’s society, the decay of values and more persistent alienation. And the roots of Eastern Europe leave their fingerprint as well.
There is still a fear of the unknown and a lack of trust that exists in current art direction, which in turn leads to designers and illustrators all too often producing comfortable and unchallenging work in order to survive.
It is noticeable that this illustrator is not one of those, who would even go in that non–committing direction. When you have something to say, it’s possible to find ways to express it without becoming a point in one crooked line.
Do something original and show that to everyone. — D. Foldvari.