texts


'THE MYTH-MAKERS' EXHIBITION ESSAY | GALLERYSMITH | APRIL 2017
BY DR ASHLEY CRAWFORD

The making of worlds just seems to come naturally to some artists. Constrained or frustrated by the ‘real’ world, they create their own where they can investigate and commentate on everything from the environment to religion to the structures of society itself without the constraints of the everyday. They are makers of myths. Becc Orszag is an illusionist par excellence. What we may assume are straightforward sketches of existing landscapes are in fact the result of agonizing foraging to uncover numerous elements which are used to create collage ‘sketches’ to utilise as the ground work for her drawn fictitious worlds. While upon a first…READ MORE


'IN CONVERSATION WITH BECC ORSZÁG' INTERVIEW | NICHOLAS PROJECTS | DECEMBER 2015
BY KATIE PAINE

A foaming waterfall forks into two inky rivers of unknown depths, defying the laws of nature.  Figures assemble awkwardly for a group portrait, their bodies blurring into one organism, only their faces recognisable. Young girls gather, their bodies swaying in some incomprehensible ritual, a man’s contorted body raised overhead as a result of a formidable magic. Have we stepped through Alice’s looking glass, and stumbled upon a netherworld, an alternate reality in which the world is endlessly repeated, tessellated and fractal?Melbourne artist Becc Ország creates exquisite drawings that pull their viewer into eerie and fantastical other worlds. 
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'IMPROBABLE JOURNEY' EXHIBITION ESSAY | GIPPSLAND ART GALLERY | MAY 2014
BY SIMON GREGG

‘Oh, the places you'll go' wrote Theodor Geisel, better known as Dr. Seuss. ‘Today is your day. You’re off to Great Places! You’re off and away!’ Such a heraldic call to arms might equally serve as the best introduction to the work of Becc Ország, whose own world of everyday characters within unlikely situations operates along similar lines of illogic. Ország dips into our world as one might dip into a chocolate box, carefully selecting shapes, sizes and flavours to appease an eclectic and curious taste. She then splices and stitches these segments together to create altogether new and bizarre scenarios, in which everything we thought we knew slips into malady and enigma.
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'CHURCHIE NATIONAL EMERGING ART PRIZE' EXHIBITION ESSAY | GRIFFITH UNIVERSITY ART GALLERY | 2013
BY CAMILLE SERISIER 

The people depicted in Becc Ország’s works are a bit odd. They move like a single organism rather than a group of individuals. United in various forms of choreographed performance there is little evidence of individualism. These images have a utilitarian feel similar to communist propaganda posters. Each person has been painstakingly rendered with their own hairstyle and outfit, all with slight variations of a modest and practical uniform.
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'AUTOCUE' EXHIBITION ESSAY | DAINE SINGER GALLERY | OCTOBER 2011
BY ASHLEY CRAWFORD

Over the centuries secret texts have been distributed by stealth, often more rumor than parchment, considered heretical, too radical for broad dissemination. As the centuries pass they become unbound, once cohesive chronicles separated by treasure hunters, framed as curios. From what scant evidence that we have at hand these pages come from an archaic exploration of both physical and philosophical intent. At times they are perhaps literal renderings of sites of power, at others they are clearly, or so we suppose, metaphysical musings on both the strength and frailty of humanity. The almost indecipherable notations and faded watermarks show the hand of a fine artisan. 
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'debutants' FEATURE| AUSTRALIAN ART COLLECTOR | ISSUE 59, 2012
BY ASHLEY CRAWFORD

Sometimes it just happens. Becc Orszag only finished studying at RMIT last year and it didn’t take long for the commercial galleries to come running. Orszag, wisely, cast around for advice and agreed to join Dianne Tanzer’s stable of artists. (Indeed, she has already appeared in Australian Art Collector, included in a feature on emerging talent in 2011.) She is now preparing for her first commercial gallery solo exhibition. The appeal of Orszag’s work is transparent and lies in her skill as a draughtsman. For her, drawing, is a “knee jerk response to the over saturation of technical trickery” stemming from a background in graphic arts. “In the end, the aspect of digital
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'UNDISCOVERED' FEATURE| AUSTRALIAN ART COLLECTOR | ISSUE 56, 2011
BY ASHLEY CRAWFORD

Catastrophe comes in many forms and Becc Ország seems intent to capture it all in unsparing detail. Specialising in drawing - a form that seems to be increasingly acknowledged among collectors - Ország's work ranges from the remarkably meticulous to the eerily obscured. It also ranged from the mayhem of nature - the black billowing clouds of a volcano - to hints of Orwellian oppression. And the results are gaining enthusiastic followers. Last year, while still a Bachelor of Arts Student, she won a $2000 undergraduate scholarship to spend on travel and she was also awarded the $1000 Siemens-RMIT Acquisition Prize, becoming part of the Siemens corporate
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