Fazakas Tibor's temperas follow the severe geometrical shapes of industry,
the almost engineerlike exactness is increased by the yint and hues of greys,
though wonderfully safe from the coldness of mere geometrical effects.
His compositions are strained, full of stirring rhythms; the coolness of
geometrical shapes being dissolved by the illusion of movement and the ubiquitous harmony.
Fazakas Tibor's art is based on the movement of mechanical structures.
But in his art these are only means. The object of analysis is beyond them.
What really counts is the space itself.
It is interesting to notice that, though the representations show a strongly rational spirit,
who calculates the place of each shape and shade, beyond all these artistical means a very deep human space prevails.
Fazakas Tibor is perseverent in his optical representation of reality.
Besides the fact that I envy both the great tenacity Fazakas Tibor
elaborates his pictures with and the professionalism he composes them with, for me,
they become personal, suggestive, that is artistical, - when symmetry changes,
the structure begins to explode and the wind begins to blow through imaginary windows.
These pictures worked out through geometrical design by means of a brilliant interweaving of lines
- suggestive of op-art works - represent the artistic fulfilment of perfection in form,
they are the symbols of equilibrium: not only the illusion of movement and space is achieved in them,
but also the everlonged harmony and beauty and peace of soul.
Fazakas Tibor's universe of art, like the movement of planets, has its own specific laws.
Personal, inner laws starting from some general laws of geometrical constructions yet allowing the artist
more creative freedom than the real world image conceived as a model.