Flóra Kőszeghy's works merge and divide sharply between moments that are possible at the border between the real and the virtual world. The relationship between the diffuse and the localised, which can hardly be described in words, also characterises the temporality of the images: she creates an atmosphere that is both ancient and futuristic, where the scale of the bodies suggests something vast and majestic. These unnameable forms, which become familiar in this way, refer to a whole and to cut-out moments of sacral and mechanical attributes, as if they were ambivalent ambivalent ambassadors of a past scenario, both personal and impersonal. The scale and composition of the images also bring the space outside the image into the realm of perception, forcing the viewer to let go of all previous epistemological knowledge, to surrender to a state of non-judgement and non-participation in present judgements. Rationality does not require the deciphering of forms and relations. Kőszeghy created and creates the interpretive domain of her own creations as an architect, but not as a static edifice. The pictures function, and their subjects are creatures painted in a friendly and frightening space-time, far removed from any mysticism.