The notion of “abjection”, which at the beginnings referred to the idea of spirit degradation, it’s evilness and indignity would be exploited in the post-structuralist theories as being the one that disturbs the conventional identities. Kristeva considers that "abject" is the one that disturbs the social premises, that form the basis of the social order.

Zsolt Berszán's works avoid the symbolical meaning, reaching the point when, as Kristeva asserted “meaning collapses”. These are evidence of a place that existed before the beginnings, of a primary point from where all started.

Berszán depicts in his drawings and paintings the primary turmoil where the violence of the unbinding has created the substance and existence. It is the moment when conscious and unconscious doesn’t exist, when the idea of humans and animals hasn’t appeared yet, where “I” and the “other” are not yet separated.

Berszán tries to bring forward the moment of the brutal unbinding between “I” and the “others”, “abjection” being in Kristeva’s perception of a “precondition of narcissism”. It is about a disturbance of the system, of order, a violation of limits that draws attention to “fragility of life”. The confrontation with the materiality in Berszán’s works refers to the idea of beginning, but at the same time end, death. The organic structure of the materials radiates a sensation of an oddity, mystery exploring the struggle of the primary scene, the moment when appears the awareness of real existence and rejection of death. It is the struggle of the individual against his dissolution.