In her paintings, Ágnes Lörincz quotes excerpts from fashion, advertising and the news, which she combines with decorative fabrics and places in a new context. The representational nature of the images makes them seem easy to grasp, but Lörincz creates more than the obvious. In her pictures, rules of behaviour follow a dress code that influences and manipulates.
The artist places ideals of beauty, women with perfect bodies and red lips on the same level as portraits of politicians or images from the news.

We are being sold a lifestyle, a message that has as little validity in politics as it does in advertising; an aesthetic, well-marketed deception. The principle of deception can also be found in Lörincz’s work on another level, as her paintings turn out to be collages at second glance. She integrates decorative fabrics so skilfully that the transitions between the painted and the glued are fluid and the two levels can hardly be distinguished from one another. The effect of the pictures changes when you get close, when you look closely, just like the stories they tell: in her wallpaper pictures, the protagonists become one with the background, seem to disappear into the structure and yet stand out from it. This interplay of surface and superficiality is an important aspect of her work.

Ultimately, Ágnes Lörincz addresses the uniformisation of our society and exposes the beautiful world of beautiful images as a great vacuum with her work.