• 100 x 73 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The work is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• SOLD

The painting leads us before the biblical account of creation, into a primal chaos preceding the birth of the created world - a state almost incomprehensible to the human mind. We find ourselves in the moment before the establishment of time's commanded order.

Within the painter’s system of symbols, radial shapes represent the cycle of existence, yet here they swirl in scattered fragments: although time already exists, it has not yet organized into a measurable process.

The blazing red fields carry the accumulating energy of a world awaiting birth, while at the center, a crusty, metallically glowing golden surface evokes the image of a forming cosmic seed.

The words of the Book of Genesis already foreshadow the impending turning point:

"And God said, Let there be light: and there was light" (Genesis 1:3).

A singular tranquility is represented by the two turquoise circles - recurring symbols of the Garden of Eden - which evoke the memory of the primeval waters and the yet-unfolding potential of life. They form a formal and semantic contrast with the red square, the solid, indivisible sign of the One, the bearer of the invisible guiding principle of the future created order. The continuity of the circles and the resolute geometry of the square already flash the prospect of emerging order within the primal chaos.

As a vision of the moment before the "Everything," the artwork captures that inexpressible threshold where organized time unfolds from possibilities still locked in unity, the creative Word is spoken, and light breaks forth from the darkness.

• 100 x 100 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• SOLD

The world of this painting, clothed in midnight indigo, deep cobalt blue, and the luminous turquoise of the primordial waters, reveals the very first moment of Creation, beyond the reach of human understanding. Here, the many hues of darkness envelop the waters slumbering beneath them like a cosmic womb, while the Universe rests in the mysterious silence of formlessness, and the first faint glimmer of the light that will emerge at the Eternal One’s command begins to shimmer at the threshold of darkness.

The opening sentence of the Book of Genesis draws heaven and earth forth from the depths of eternity:

“In the beginning God created the heaven and the earth” (Genesis 1:1), and then Scripture offers a glimpse into the mysterious depths of the primordial state of the created world: “And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters” (Genesis 1:2).

The painting transforms the unfathomable beginning into a monumental silence of colour: the darkness of the upper portion of the canvas envelops the entire Universe, while an extraordinary, phosphorescent emerald radiance unfolds within the turquoise depths below, making the impending transformation perceptible.

Emerging with particular force from this monumental silence of colour is the golden relief in the lower-left region of the painting. Its surface is rough and rock-like, and along its edge the words of Genesis already shine forth:

“And God said, Let there be light: and there was light” (Genesis 1:3).

“And the evening and the morning were the first day” (Genesis 1:5).

And as our gaze makes its final passage across the midnight vault of the canvas, the boundless turquoise of the primordial waters, and the golden crown radiant at the edge of the abyss, the first day of Creation unfolds before us as the eternal mystery of the birth of the Universe.

• 120 x 140 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• SOLD

“And God said, Let the waters bring forth abundantly the moving creature that hath life, and let birds fly above the earth across the expanse of heaven.” (Genesis 1:20)

In the upper region of the painting, blue birds emerge from the cool mountain peaks and enter an airy, pastel-green expanse, answering the call of the divine will.

The golden surface drapes itself over the composition like a protective celestial mantle. It symbolises both the divine creative will and the presence that safeguards the world. Its radiance is not static but a pulsating, living force. The golden semicircle also evokes the passage of time, suggesting that everything in Creation has its appointed moment.

Scattered flecks of paint across the canvas enhance the sense of spatial depth and three-dimensionality.

In the middle and lower regions of the painting, the waters reveal their many different faces. Alongside the intense blues of the deep, dark, rumbling ocean, luminous, translucent lagoons emerge.

The once-desolate land, parched in russet brown, now teems with life. Streaks of pink and gold emphasise the beauty and fertility of the newly created world. The pink mountain forms and shorelines, together with the colours unfolding above them and along the boundary between water and sky, evoke the joy of burgeoning life and the richness of Creation. Earth, water, and air together become a home for life, where movement, light, and colour meet in harmony.

The Fifth Day celebrates the fulfilment of Creation.

• 140 x 140 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• AVAILABLE FOR PURCHASE

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The Seventh Day marks the birth of sacred time. When the heavens and the earth and all their hosts had been completed, God rested from His creative work and bestowed a special dignity upon the seventh day. In the biblical sense, rest is the joy of fulfilment, a celebration of divine contentment in the beauty of Creation.

“And God blessed the seventh day, and sanctified it: because that in it he had rested from all his work which God created and made.” (Genesis 2:3)

The entire canvas is framed by a monumental, vaulted arc composed of sapphire blue and ultramarine, its form reminiscent of the rocky arch of a cathedral. Turquoise-tinted streaks of paint descend from above, hanging like stalactites over the luminous inner space. The arc symbolises wholeness, while also defining the boundaries of earthly life.

On either side, bands of black and blood-red paint fan out in radiant patterns, their projecting forms edged with delicate golden lines and converging at a single point. Following the six days of Creation, the seventh day signifies not merely the completion of the work, but the emergence of a new dimension of time. For humankind, time opens up as a realm of beginnings and fulfilment, of change and rest. The common axis of the radiating beams connects the rhythm of passing time with the stillness of eternity.

“Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting, thou art God.” (Psalm 90:2)

The Seventh Day marks the solemn arrival of Creation at rest. The wholeness of the circle, the ordered arrangement of the offset axes, and the forms of heaven and earth answering one another evoke the birth of time for humankind within the created world.

• 100 x 100 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III. - In Search of the Secrets of Eternity' cycle
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Immersed in a pictorial world pulsating with the life of sacred space, we witness one of the most dramatic events of the Old Testament: the shattering of the covenant between humankind and the Eternal One.

Moses has spent forty days upon Mount Sinai, where the word of the invisible God takes enduring form upon tablets of stone. Yet the impatience of the people waiting at the foot of the mountain turns to infidelity, and they demand that Aaron make them a god of their own. The gold of the canvas preserves the memory of heavenly light, yet, touched by earthly desire, it becomes the false radiance of an idol.

From this mineral world, the vast red field of the composition tears itself free. The recurring altar motif of the cycle is transformed here into a fragmented form that breaks apart and streams downwards.

Beneath the red, a space of ivory, pearl grey, and chalk white opens up, evoking the majestic silence of Sinai and the purity of the Law. Emerging from this radiance in the lower part of the painting stands a dark figure with his back turned towards us: Moses.

In his hands, the two tablets of stone form a reddish-brown rectangle. Above him, the red of the broken covenant pours down, while all around him stretches an immense, soundless whiteness. One solitary human figure bears the weight of the encounter between two worlds.

In his anger, Moses shatters the tablets, yet later returns to the Eternal One and pleads for his sinful people. His raised arms thus embody the weight of the Law, the anguish of wrath, and the gesture of intercession. At the heart of the story lies the possibility of renewal, along with the promise of grace: what hangs above humankind here as a shattered altar may, in later paintings of the cycle, once again take shape as a solid, assured red square - the sustaining altar of the divine presence.

• 120 x 120 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III. - In Search of the Secrets of Eternity' cycle
• RESERVED

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The solemn interplay of gold-clad surfaces, sooty midnight blacks, deep ultramarines, blood-red brushstrokes flaring like flames, and icy, luminous blue-whites unfolds before us like the sudden rekindling of a sanctuary that has lain silent for ages.

The painting evokes the gloria aeterna, the everlasting glory of Judas Maccabeus’s victory.

The cleansing of the Temple meant more than the restoration of its stones and sacred vessels; it also signified the renewal of a violated covenant. The canvas’s rough, heavily layered surface resembles, in places, the walls of a temple, elsewhere a rocky outcrop or a blackened altar stone.

From the depths of the composition, two monumental, incandescent forms emerge. Their indistinct contours evoke the heads of sacrificial animals facing one another. Between them, a deep vertical cleft takes on the form of an altar, from which a red flame rises like a burnt offering even as it streams downwards like blood shed in atonement.

The crimson paint courses through the composition like a deep, living vein, recalling an ember preserved beneath the ruins - one that neither the winds of time nor the shadow of idols could ever wholly extinguish.

The cool radiance of the blues evokes ritual purity, the cleansing power of water, and the protective presence of the heavens. As the depths of cobalt blue meet the solemn splendour of gold, it is as though heaven bends down towards the earth, reuniting faithfulness with earthly service.

“And the glory of the LORD filled the house of the LORD.” (1 Kings 8:11)

• 45 x 45 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• SOLD

“The blessing of the LORD, it maketh rich, and he addeth no sorrow with it.” (Proverbs 10:22)

In The Proverb, Tamás Náray explores the conflict between divine blessing and the human ego through a dense, dramatic interplay of colour and form. At the centre of the composition, a scarlet-red motif unfolds, framed by two distinct golden surfaces and surrounded by layers of silvery white. The interplay of these colours establishes a moral order: the wealth that flows from divine grace transcends human pride and the desire for possession.

The radiance of gold does not celebrate the accumulation of earthly riches. Rather, it expresses the truth that the source of true wealth lies not in the human desire to possess, but in the blessing of the Lord.

The scarlet-red motif embodies the ego. Its intensity, expansive presence, and tension with the surrounding surfaces evoke the force of self-assertion.

The silvery-white layers encircling the red open up a realm of purity and a renewed order of values. Their cooler tones counterbalance both the passion of the red and the brilliance of the gold.

The painting’s tactile, layered surface and the forceful interplay of colours make the inner struggle almost tangible. Despite its modest dimensions, the composition possesses a monumental presence.

The Proverb reflects on the nature of true wealth. Divine blessing does not feed human greed; it transcends it. The painting’s ultimate message affirms the truth of the biblical proverb: true wealth flows from blessing and carries none of the sorrow that springs from the desire to possess.

• 100 x 81 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• AVAILABLE FOR PURCHASE

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At the centre of the composition, a golden-white form unfolds, evoking a flame, a wing spreading wide, and a radiant apparition enveloped in light. Around it, sweeping forms of crimson and carmine unfurl like wings. The movement from the red, wing-like expanse towards the golden centre becomes a painterly echo of the seraph’s approach, while the colour of the flame embodies the power of a purifying touch. In the upper region, a space of white and silvery grey opens out beside the gold, arching above the central apparition like a celestial vault.

The painting’s biblical resonance lies in the prophetic calling of Isaiah, when the heavenly vision becomes a divine commission.

“Whom shall I send, and who will go for us?” comes the divine question, to which Isaiah replies: “Here am I; send me.” (Isaiah 6:8, KJV)

Nestled within the radiant centre rests a white seed, its softly curved shape almost embryonic. Around it, the granular gold closes like a protective sheath enclosing life: at once seed coat, womb, and sanctuary, guarding the mystery taking shape within. The white form has already come into being in the invisible realm and is now poised to unfold towards the light. It is as though the Word itself were being conceived in the heart of the painting.

The stream of light descending from the gold symbolises the earthly journey of the divine Word, while the blue-grey depths evoke the weight of the human world. Crimson and carmine embody the force of prophetic fire, gold the glory of heaven, and white the purity of the Word coming into being. The prophecy thus becomes an image of a calling born of vision: the divine message touches the human being, takes shape within, and then sets forth into the world through the spoken word.

• 120 x 120 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle

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The painting evokes the story of Esther, the Jewish woman who concealed her origins and became queen of Persia, whose courageous intervention led to the deliverance of her people. The deep blue and indigo expanses of the upper region embody the mysterious order unfolding behind historical events. Emerging from layers of golden ochre and ivory, lighter fields evoke Esther’s dual position: the splendour of royal dignity and the hidden identity of a woman who guards the secret of her origins.

On the right side of the composition, a surge of scarlet and crimson concentrates the menace of Haman’s destructive plot. The convex golden surface extending diagonally across the centre evokes the royal sceptre, whose touch marked the moment of grace and deliverance for Esther. The golden-ochre triangle on the right also recalls the power of the Persian court and the majesty of the royal office.

The queen accepted the danger and interceded with the king on behalf of her people: “If I perish, I perish.” (Esther 4:16, KJV). These words embody the dignity of self-sacrifice and the responsibility one assumes for the fate of others.

The undulating turquoise, cyan, and ultramarine in the lower part of the painting evoke Esther’s unblemished purity and the grace that ultimately preserved her life. In the lower left corner, an arcing form articulated with flecks of gold suggests protection and life preserved. As colours and directional movements converge, a tension unfolds between threat and deliverance, vulnerability and courage. The deliverance of a people condemned to destruction is commemorated in the festival of Purim.

The painting elevates Esther’s story into a universal parable of personal responsibility: dignity reaches its fulfilment when one places one’s own fate in the service of saving others.

• 70 x 70 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• SOLD

To evoke one of the most harrowing stories of the Old Testament, the artist calls upon the elemental forces of nature. Above the swirling currents of cobalt and ultramarine, the heavens split open, and a vast scarlet funnel plunges from the torn firmament into the earth with the force of a comet. Between the whirling currents of silvery light and the earth seemingly frozen in gold and bronze, fate rises like a blazing pillar of fire, condensing into a single vision the intoxication of triumph, the irrevocable weight of a spoken word, and the tragic fulfilment of a young woman’s destiny.

The painting gives visual form to the story told in the Book of Judges. Jephthah, a warrior of Gilead, had found refuge in the land of Tob. When the Ammonites threatened Gilead, the elders turned to him for help, and he rose to become the leader of his people. On the eve of battle, he made a vow to the Eternal:

“If thou shalt without fail deliver the children of Ammon into mine hands, then it shall be, that whatsoever cometh forth of the doors of my house to meet me, when I return in peace from the children of Ammon, shall surely be the LORD’s, and I will offer it up for a burnt offering.” (Judges 11:30–31, KJV)

Jephthah defeated the Ammonites, but when he returned home, his daughter came out to meet him, dancing to the sound of a tambourine.

Emerging from the dark, earthy tones, a delicate, gently curving pink form preserves the fragile presence of youth, life, and innocence. Beside the crimson vortex, this slender, silvery-shimmering shape may be read as the symbolic presence of Jephthah’s daughter.

The theological interpretation of the story remains an open question: was Jephthah’s vow fulfilled through the sacrifice of his daughter’s life, or did the sacrifice signify her permanent renunciation of marriage and motherhood, a life consecrated to God? The painting leaves this mystery unresolved, entrusting its interpretation to the viewer and preserving the harrowing ambiguity of the biblical narrative.

• 80 x 80 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• AVAILABLE FOR PURCHASE

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The painting evokes one of the defining moments of the Israelites’ wilderness journey: for a people tormented by thirst, water flowing from a barren rock becomes a sign of life and divine providence. Beneath a monumental cobalt-blue sky, masses of ochre, brown, and greyish-white rock press against one another, creating a world of ancient, elemental weight. Blue and turquoise currents break through the stillness of the stone, widening into a luminous expanse of water across the lower part of the composition. In the heart of desolation, the possibility of life emerges.

“Behold, I will stand before thee there upon the rock in Horeb; and thou shalt smite the rock, and there shall come water out of it, that the people may drink.” (Exodus 17:6, KJV)

One of the composition’s most striking motifs is the glowing red form in the upper left, in which the shape of a serpent’s head emerges. Its vivid colour stands in sharp contrast to the cool blue background, evoking the dangers of the wilderness journey. In the biblical narrative, the serpent embodies the threat of death, while also recalling the possibility of deliverance. The Book of Deuteronomy condenses the thirst and perils of the wilderness into a single, memorable image:

“Who led thee through that great and terrible wilderness, wherein were fiery serpents, and scorpions, and drought, where there was no water; who brought thee forth water out of the rock of flint.” (Deuteronomy 8:15, KJV)

The red form undergoes a curious transformation, also suggesting the image of an altar. The serpent’s head evokes the memory of danger in the wilderness, while the altar suggests the human response to divine providence. This interpretation places the red motif on the threshold between fear and the sacred, threat and hope. Gold emphasises the sacred presence and sustaining power of the divine, while the rough, layered surfaces of the rocks retain the weight of the earthly realm. The water finding its way between the blue sky and the stone binds the different elements of the painting together, expressing the emergence of life from the depths.

• 140 x 140 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• SOLD

In this remarkable work, the artist explores the mystery of faithfulness born of a promise: the sacred bond through which the spoken word transcends the moment, guiding generations through trials and tribulations until, at last, it finds fulfilment in land, home, and belonging. The biblical narrative underlying the painting begins with Abraham’s calling and the divine promise made to him:

“Get thee out of thy country … unto a land that I will shew thee.” (Genesis 12:1, KJV)

The promise later unfolds into a visible horizon:

“For all the land which thou seest, to thee will I give it, and to thy seed for ever.” (Genesis 13:15, KJV)

Beneath the pearlescent sky, a dark blue mountain range traces the contours of a distant world, while the band of pale blue water stretching between the mountains and the viewer evokes the stillness of what is yet to come. In the foreground, a broad tongue of ochre-gold earth cuts across the composition. Its rough, furrowed surface gives tangible form to the Promised Land. Within its embrace, clear blue water symbolises life, fertility, and blessing, evoking the abundance of Canaan, the biblical land flowing with milk and honey.

From the upper right, an immense field of golden and silvery light descends over the landscape, enveloping the earthly world like a heavenly mantle.

Among the deeper layers of the composition, a vertical golden rectangle rises like a sacred gateway set within the landscape. Its precise geometry transforms the path of wandering into a threshold, opening a passage between promise and fulfilment. Within it, a motif in white and delicate pink branches upwards, evoking at once a root, an open palm, and the tree of life.

The painting’s three-dimensional structure folds time upon itself. In its depths, the long journey towards the fulfilment of the promise unfolds; in its raised golden layers, the radiance of divine faithfulness shines forth; and across its expansive horizon, the promise finds its ultimate fulfilment.

• 120 x 120 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• SOLD

The painting leads the viewer into the timeless realm of the sacred mountains. Emerging from the cosmic stillness of deep blue and turquoise, the emerald-tinged glimmers, and the radiance of granular gold, a mysterious, tiered form rises into view. It evokes an ark, a sanctuary, a heavenly gate, and a mountain reaching towards the sky, as though the memory of the biblical holy places had converged in a single mystical vision. Enclosed in gold, the articulated structure at the centre radiates order and sustaining strength amid the boundless blue expanses that undulate around it.

The vertical axis of gold symbolises the passage between the earthly and heavenly realms. The grid-like arrangement of vertical and horizontal golden bands evokes the ground plan of an invisible sanctuary, embodying the sustaining power of the covenant, which establishes a steadfast centre even in a world of constant change.

Within this layered structure, the memory of Mount Sinai emerges first. In the central chromatic chambers, fields of red, orange, and yellow flare into life, evoking the fire associated with the story of Mount Carmel.

The azure and turquoise surrounding the composition evoke the sanctified presence and peace of Mount Zion, where the Ark of the Covenant was kept during the reign of King David. The purple and burgundy shadows on the left preserve the memory of sacrifice and obedience, recalling the story of Abraham and Isaac, as well as the sacred significance of the Temple Mount. Above the blue expanses, glimmers of green hold the promise of renewal: the life-giving essence of water and the vital creative force of the Garden of Eden.

The memory of Mount Nebo emerges through the painting’s distant vistas. Just as Moses beheld the Promised Land from the mountain, the central form of the composition remains both within reach and mysteriously remote. Sinai represents the Law and the covenant; Zion, the sanctified presence of God; Carmel, the testing of faith; the Temple Mount, sacrifice; and Nebo, promise and relinquishment.

Yet the painting depicts no single geographical place. Instead, it evokes the eternal archetype of the sacred mountain: the inner height towards which each person must make a pilgrimage within themselves.

• 120 x 100 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• SOLD

The three sentences of the blessing unfold across the canvas as three interwoven stages of spiritual experience: protection, grace, and peace.

The painting presents one of the most sublime revelations of the Old Testament, the Aaronic blessing, through a monumental composition of colour. The vertically cascading layers of paint evoke the curtains of a sanctuary radiant with heavenly light, while the interplay of gold, red, emerald green, and deep blue gives form to the three gifts of divine presence: protection, grace, and peace.

“The LORD bless thee, and keep thee: The LORD make his face shine upon thee, and be gracious unto thee: The LORD lift up his countenance upon thee, and give thee peace.” (Numbers 6:24–26, KJV)

The interplay of red, black, and gold conveys the protective power of the first sentence of the blessing. Red represents living love, black the depths of mystery, and gold the radiance of divine glory. Together, these colours envelop the viewer like a royal mantle. The emerald green unfolding at the centre symbolises grace and rebirth; its upward-reaching forms evoke Aaron’s rod that blossomed and the promise of renewed life. The deep blue and violet on the right lead towards the peace expressed in the third sentence of the blessing. Turquoise highlights evoke the life-giving essence of water and the vital creative force of the Garden of Eden.

The three colour fields merge into a single, uninterrupted flow: from protective love comes grace, and from grace, peace. The painting thus becomes a liturgy of colour woven from the words of the Aaronic blessing, in which divine love preserves, renews, and leads humanity back to the fullness of creation.

• 100 x 100 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• SOLD

In the radiant infinity of turquoise, amid glowing reds and fragmented gold leaf, a distant, luminous city emerges on the horizon. Its towers and gate-like structures evoke a vision of the Jerusalem to come. Golden light descends from above, while beneath the city, the blue deepens into a vast, water-like expanse.

The painting evokes the radiant vision of the future proclaimed in Isaiah’s prophecy:

“Arise, shine; for thy light is come, and the glory of the LORD is risen upon thee. […] And the Gentiles shall come to thy light, and kings to the brightness of thy rising.” (Isaiah 60:1–3, KJV)

The vast field of turquoise sky opens up an expansive realm of anticipation and fulfilment. A glowing red disc floats high above, drawing the eye like an incandescent sign, while a narrow extension of the fragmented gold field descends towards the city.

Beneath the city, the turquoise gradually deepens into cobalt and ultramarine. Streaks of red and gold reflections flow downwards, connecting the horizon with the depths, as though the city’s radiance were permeating the whole of creation. Along the edges of the painting, glowing shores of red and gold mark the meeting of past and future.

Isaiah’s vision ultimately expands into the promise of a new creation:

“For, behold, I create new heavens and a new earth: […] for, behold, I create Jerusalem a rejoicing, and her people a joy.” (Isaiah 65:17–18, KJV)

In the painting, sky and water, city and light merge into a single radiant horizon. Distant Jerusalem already bears the first glimmer of the world to come, in which the promise of the Eternal will be realised as a new order, a new life, and ultimate fulfilment.

• 55 x 46 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
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The painting Coincidentia reveals a mysterious correspondence between two biblical narratives separated by centuries: the parallel between the births of Moses and Jesus. In both stories, the birth of a child poses a threat to the ruling power, and in both, despite a decree of death, a path to deliverance emerges. The fear of Pharaoh and Herod springs from the same realisation: the life that has come into the world carries the promise of a future beyond the control of earthly power.

The composition’s long, vertical bands of colour evoke successive layers of time. Columns of gold, earth brown, black, ivory white, sun yellow, and cobalt rise side by side, linking historical eras. The narrow stream of blue recalls the Nile, whose waters once preserved Moses’s life. The lighter bands of paint open narrow passages between the dark and golden layers, serving as visual intimations of the possibility of deliverance.

At the centre of the painting, a glowing red square, the symbol of the One, becomes the spiritual axis of the composition. Around it, gold emerges from the canvas, at times as a thin stream of paint, at others in thick, relief-like layers, evoking the radiance of timeless order and divine presence.

Centuries separate Pharaoh and Herod, yet the same fear turns them against the most vulnerable of lives. Their decrees seek to halt the future, but the very children condemned to destruction become bearers of a story greater than themselves. Within the painting’s vertical order, historical distances gradually close: the destinies of Moses and Jesus are superimposed, while the red square shines as the seal of a correspondence that transcends time.

Coincidentia reveals the eternal order underlying recurring patterns in history.

• 100 x 100 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
• PRIVATELY OWNED

Within this richly layered composition, suffused with an inner radiance, an arc of sunlight emerges across a quarter-circle, quietly commanding the composition and gently permeating the entire work with its elemental force. It evokes the creative moment of Genesis, when order arises from the still-formless depths and the divine word, resounding through the silence, kindles light within existence.

“And God said, Let there be light: and there was light.” (Genesis 1:3, KJV)

Whites dissolving into pearlescence and translucent surfaces do not dazzle; instead, they invite the viewer in, conveying the quiet certainty of a beginning slowly unfolding. On the right, gold spreads as a dense, living substance, not merely as radiance but as a sustaining presence, where light has arrived, come to rest, and condensed into a fullness glowing from within. Its texture is rich and rugged: light has become matter, the invisible is already at work within it, and every subtle vibration bears the imprint of a new birth.

In the lower part of the painting, pale blues and earth tones dissolve into one another, evoking the material substance of a world coming into being, where water, earth, and light intertwine to trace the first signs of created order. The intense red mark within the composition, concentrated yet spreading outwards, suggests the mysterious premonition of life emerging: a pulsating inner core carrying within itself the dynamism of creation yet to unfold. A pale pinkish band forms a gentle transition, as though the first, still-fragile stirrings of life were already dawning within raw matter.

The turbulent depths churning in the lower part of the painting preserve the dark, pulsating layers of the primordial world’s unrest. Matter still remembers chaos, poised to receive the order that is about to emerge.

• 100 x 150 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
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“And thou shalt make holy garments for Aaron thy brother for glory and for beauty.” (Exodus 28:2, KJV)

The painting evokes the sacred beauty of the high priest’s vestments as described in the Old Testament. Layered gold surfaces, deep blue diagonals, and radiant fields of purple, crimson, and magenta bring to life the movement of an invisible loom, upon which diverse materials and colours are woven together into a single ceremonial fabric.

The seven golden columns rising on the left stand out from the composition as guardians of sacred order. They evoke the biblical memory of Israel’s tribes and their ancestral heritage: Benjamin, Simeon, Zebulun, Issachar, Asher, Naphtali, and Gad, whose destinies were bound to the history of the Promised Land. Along the lower edge of the painting, Mount Zion emerges, interwoven with deep blue and golden light, connecting the memory of the holy city and the divine presence with the world of the high priest’s ministry.

Among the deep blue and purple forms, the ephod, Aaron’s ornate shoulder garment, and the breastpiece of judgement, worn over his heart, take shape. The twelve precious stones of the breastpiece bore the names of the twelve tribes of Israel. Upon his shoulders and over his heart, the high priest carried his people before the Eternal: the stones on his shoulders symbolised responsibility, while the precious stones over his heart evoked the love expressed through intercession.

The golden radiance of the composition also recalls the light of the seven-branched Menorah, the golden lampstand of the sanctuary. Its branches sprang from a single piece of gold, and its seven lamps served to illuminate the sacred space. The interwoven lines of gold and blue unite the distinct forms within a single, living order, just as every element of the high priest’s vestments expressed the unity of consecrated service.

Upon Aaron’s forehead, a plate of pure gold bore the inscription: “HOLINESS TO THE LORD.” (Exodus 28:36, KJV) This declaration encapsulates the meaning of the entire composition: through human devotion, the glory of the Eternal becomes visible, while the beauty of consecrated service shines forth as light, illuminating the created world.

• 91 x 91 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• AVAILABLE FOR PURCHASE

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The Sapphire Firmament transports the viewer into the realm of Old Testament theophanies. From the ceremonial splendour of patinated gold leaf, through flowing turquoise and sapphire-blue hues dissolving into pearlescent whites, to the glowing depths of crimson and the graceful movements of soaring forms, a singular celestial landscape unfolds. Here, the mighty forces of nature meet the majesty of the divine presence. The composition evokes the wondrous moment when the heavens open above Mount Sinai, the earthly realm is suffused with heavenly light, and all the beauty of creation proclaims the glory of the Eternal. Sapphire, one of the most precious gemstones of the Old Testament, assumes particular significance in the Book of Exodus, when Moses, Aaron, Nadab, Abihu, and seventy elders of Israel ascend Mount Sinai and witness an extraordinary manifestation of God.

“And they saw the God of Israel: and there was under his feet as it were a paved work of a sapphire stone, and as it were the body of heaven in his clearness.” (Exodus 24:10, KJV)

The upper-left area of the canvas is dominated by a richly layered, almost bas-relief-like surface of gold. Extending across the composition, broad, interflowing fields of ice blue, turquoise, aquamarine, and luminous azure unfold. Among the lighter turquoise surfaces, reddish and golden brushstrokes give rise to forms reminiscent of birds. Their sweeping movements evoke the freedom of flight between heaven and earth, while also recalling the biblical image of Noah’s dove.

Paint layers interwoven with turquoise and silvery white, edged with slate-grey contours, trace the outlines of a monumental series of interlocking gateways or a celestial structure.

Against a pale pink, pearlescent background, a form rising upwards and deepening into rich purple evokes the majesty of a heavenly throne, whose radiant inner space gradually transforms into a sacrificial altar.

In the first chapter of the Book of Ezekiel, above the heavenly firmament appears a throne resembling sapphire stone, surrounded by fire and radiance. In Isaiah’s vision, the Lord sits upon a lofty throne, with seraphim proclaiming his holiness around him.

• 146 x 96 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
• PRIVATELY OWNED

This abstraction, woven from radiant layers of light, preserves the memory of the pristine first moment of Creation, as Scripture recounts the very beginning of all things:

“And God said, Let there be light: and there was light.” (Genesis 1:3, KJV)

A single, gentle, all-embracing movement flows throughout the canvas: the descent and ascent of light, as delicately merging radiance unfolds like a sacred vision. Running through the centre of the composition, a golden axis resembles a heavenly rift through which the light of eternity enters the created world. Its richly layered, granular surface, dusted with gold, shimmers with vitality, as though the material still retains the warmth of the divine touch. A deeper, earth-toned band running through its centre lends an intimate sense of cohesion to this radiance, like grace emerging from an ancient wound.

Within this vertical shaft of golden light, a faint reflection of Jacob’s ladder emerges, evoking the meeting of heaven and earth and the invisible presence of angels permeating the space. In the upper-right area, the geometric purity of a golden solar arc bends towards the composition with solemn order, its rays brushing the surface with delicate threads of light that diffuse like a veil of mist.

Light permeates and softens, illuminating hidden depths from within. The pink hues, billowing like a veil of silk, embody the inner beauty of purification, becoming an expression of mercy and love. To the left of the golden rift, deepening shades of crimson evoke the motionless depths of the primordial beginning. Pale blue and turquoise radiance merge into them like the breath of the divine wind sweeping across the waters, as the first dawn emerges from the formless infinite.

In the lower-right corner, deep burgundy tones gather into rich, velvety layers. The paint trails cascading downwards resemble the tears of time. The regal dignity and poignant beauty of the crimson hues resonate throughout the composition, uniting its contrasting elements in a single, contemplative vision.

“For with thee is the fountain of life: in thy light shall we see light.” (Psalm 36:9, KJV)

• 160 x 120 cm
  
• Oil and gold on canvas
  
• Created: Sitges, 2026
  
• The artwork is part of the 'Old Testament III - In Search of the Secrets of Eternity' cycle
• RESERVED

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“Thus the heavens and the earth were finished, and all the host of them.” (Genesis 2:1, KJV)

Tamás Náray’s painting contemplates the ultimate order of time while simultaneously reaching back to the beginning. The creation of the world returns to the point from which it emerged: the point at which light and darkness, heaven and earth, the visible and the invisible converge. The painting represents not an ending, but a fulfilment: the circle of Creation closes, while its divine order remains eternal.

At the centre of the composition appears a golden altar motif, its edges slightly weathered, symbolising the fulfilment of Creation and the eternity of divine order. Gold represents not only the creative will and the sustaining power of the divine, but also the inner transformation from which all change arises. The golden altar becomes the place where time and space meet, where beginning and end become one.

The vertical and horizontal bands of red and white evoke the four cardinal directions, the order of the world, and the all-pervading power of the divine presence. The cross-shaped composition simultaneously alludes to the cosmic order of Creation, the unity of the world, and the eternal cycle of sacrifice, thanksgiving, and renewal.

The deep greens, blues, and layers of gold embody the richness and diversity of the created world. Golden lines flowing both upwards and downwards suggest the movement of divine will, connecting heaven and earth, the visible and the invisible. In the dark lower region, reminiscent of a mountain range, sacred mountains emerge as witnesses to the order of Creation. They embody the solidity of earthly existence and a permanence that transcends time. We pass away, but Creation endures: the mountains remain, and the order of the world persists.

The work is at once an ending and a new beginning. The created world returns to its origin, while the eternal presence of divine order reminds us that all transformation begins within, and that the essence of life lies in light, order, and unity.