Much of Ron Nyisztor's consistent art practice involves discarded building materials being used as part of the actual work and also as support grounds for paintings. As still-life subjects for paintings, the found objects are incorporated into dynamic compositions.
Ron Nyisztor was born in Fremantle and gained his Bachelor of Arts in Design at W.A.I.T (now Curtin University) in 1979. Ron works with a wide range of materials and subjects and has exhibited regularly since 1989.
An important contributor to the Western Australian art scene, Ron set up and runs Nyisztor Studio, an independent artist run space in Melville.
Ron Nyisztor’s paintings are held in the collections of the Art Gallery of Western Australia, the Royal Perth Hospital, Princess Margaret Hospital, the Federal Court of Australia, Australian Capital Equity, the Industrial Relations Commission of WA, the City of Fremantle and the Perth Office of National Native Tribunal.
'Much of Ron’s consistent art practice involves discarded building materials being used as part of the actual work and also as support grounds for paintings. As still-life subjects for paintings, the found objects are incorporated into dynamic compositions. The mundane subject matter used in his work attains compelling intrigue - it communicates a sense of the metaphysical expressed through familiar and extra-ordinary means.
It is part of his modus operandi that he devises titles in advance of the artwork, laying the conceptual groundwork that accompanies each painting, but less a title, more like a script for the artwork to act out.
'The paintings have a cryptic title that becomes part of the work and offers a metaphysical or psychedelic reading. The titles, devised before the paintings were completed, express the unfamiliarity of an initial encounter, a sense of beyond knowledge or new consciousness. The titles in their typographic design echo a floating sphere, a word image as in concrete poetry. In essence these descriptions imagine key facets of life's passage and experience.'
Trevor Richards, 2017