wood, rope, metal, textile (object), 40 × 40.3 × 4 cm
This work belongs to the cycle Banalities, which reflects Tóth’s shift away from painting and into the domain of post-conceptual art. In his own words, the value of the cycle “lies in the fact that I took my possibility to be an author and tore it into fragments, which somebody else used to compose the image of a poet”. Footprints are a characteristic feature of Tóth’s work; he works with them on a number of levels, such as painting footprints on an asphalt road (Grass / Darkness, 1976) or creating and recording footprints in snow, using specially modified soles bearing the negative of a bird’s footprint (Footprints, 1979). Viewed conceptually, behind the footprints we can discern motion, processuality and a reference to a person engaging in a dialogue with the landscape; this reflects not only Tóth’s own thought processes as an action artist, but also the contemporary art scene as a whole.