The essence of FODOR’s distinctive art is objectified irony; coincidences, perception and the creative exploration of vision meet in his work. He handles the processes of multiplication and alteration with the freedom of art, changing materials, transforming diamonds into rubber, chocolate into plexiglass or concrete, Christmas trees into lamp stands, barbed wire into a lampshade, and multiplying the unique, and is therefore an active participant in the process of multiplication. For him, this makes sense when, through repetition, the original loses its content and meaning and literally becomes an arte-fact. This re-interpretation and re-contextualisation of objects is the basis of his art. Fodor’s works, which stand at the crossroads of design and anti-design, are playful, hiding many layers of meaning. Of the work, the artist writes: “This piece is a public sculpture model, but in this case the emphasis is on vertical rise rather than horizontal movement. In addition to the transitions between landscape, sky and sculpture, and the relationship between the ground and the horizon, I was interested in the formal elements of ascending growth (e.g. plants and skyscrapers)”.