The role of the figure in his work is very important. He asserts that his paintings are not portraits, but rather representations. He works with actors to convey a specific action or thought that he has generally preconceived. Subsequently, the models themselves are not the subjects of the work. They function as a conduit for telling the story Magyar invented.
This particular series, in his typical large-format scale, is (potentially) an introduction to a larger narrative yet to be written. Though each piece is meant to exist as a stand-alone work, there are undeniable commonalities and relationships between the various canvases. From repeated symbols to duplicate faces, each of the works in "Convergence" is painted in like style and palette.
Magyar uses impressionist-like strokes of pure color to create the realistic faces in the forefront of his compositions. Each face is painted precisely, despite the size of the strokes, and so realistically that the viewer can almost feel the figure’s breath and can predict the texture of their skin. Aside from the formal components of his work, Magyar has a strong belief in the process of painting – and the life that process gives to the work.
