Children and childhood have great symbolic importance within this narrative. In a child’s mind, imagination and perception of reality are much more flexible; in Horror words, “if a child sees a table it might not know its normative function, the function we have prescribed to it”, but it entails endless possibilities. As such, the children in his drawings undertake various adventures, explore realms and stubbornly resist conventional ways of experiencing the world. Mixing real and imaginary elements serves as a tool for Horror to break the fabric of conventional perception and challenge our entrenched hierarchies of time, space and reality.
The other reappearing character throughout Horror’s oeuvre, Death or the Reaper, similarly reinforces a more complex view of time and reality as such. Death is never an insidious, malevolent presence; for Horror, it simply represents change, and the cyclical, transitory nature of existence. Though this series has less explicit socio-political undertones than some of Horror’s previous works, there are still some allusions to current affairs like in the drawing Mexican Embassy, showing a large picket fence with a toy soldier towering over it.
A dominant source of Horror’s visual vocabulary is rooted in his personal memories, imagination and imagery that had imprinted on his subconscious. Thus, his vocabulary is rich with national cultural iconography and references to Romanian and Hungarian identity, such as the works Hungarian Football Operette and Kislovodsk Toothpaste, albeit always diluted with other global and fantastical elements. He is equally strongly influenced by his Catholic upbringing – there’s a dominant religious theme to many of his works such as the Saint Sebastian figure in the drawing of the same title – as well as being a child of the Eastern Bloc and living through the enormous societal and cultural shift towards globalisation that occurred after 1989.