Ërell works with his own unique motif in the world of street art, where self-branding is of paramount importance; his eye-catching hexagonal variations make his works instantly recognizable, which have now made their way from the walls of the street into the exhibition space in pictorial form. Ërell is known for his public art, unique urban installations, and geometric street art, which mainly appear in public spaces in major French cities. He graduated in 2013 from the École Supérieure d'Art et Design (ESADSE) in Saint-Étienne, where he also participated in projects promoting environmental friendliness and urban biodiversity.
Kata Koleszár (1988) also builds her pictorial world on a specific set of motifs: her impasto paintings envisioning an earthly paradise present a seemingly idyllic world, approaching this sacred theme from a contemporary perspective. The inspiration of the “garden,” the forces of nature, and the notion of timelessness also appear in the work of Botond András Kiss (1992). In contrast to Koleszár’s composed figurative canvases, Kiss’s organic visual language is closer to abstraction. Similar to Kiss, Eszter Poroszlai (1974) strives to understand the laws of nature and the universe. Her themes revolve around questioning human perception—from sight to the perception of time. In her cyanotypes featured in the exhibition, she applies embroidered rays projecting onto sacred and non-sacred spaces, adding texture while simultaneously mapping forms and perspective. In her experimentation with embroidery, Márta Kiss (1974) enters into a dialogue with Poroszlai. Moving away from figurative painting and gradually reducing her visual language, Kiss arrived at the circle, which, combined with embroidery, forms compositions infused with personal narratives. Alongside Erell, who presents works based on nonfigurative, reductive forms, Judit Lóczi Horváth (1981) also works in the field of geometric abstraction. Through an abstract vocabulary, Horváth Lóczi connects her inner and outer observations. Her works, rooted in her own experiences and everyday life, are reborn in colorful geometries that experiment with space and perception. For Dániel Sallay (1985), creation becomes a form of self-therapy. His tangible, handheld sculptures emerge from his deepest meditative phases. Beyond his intuitive thoughts, jazz has also had a significant influence on his creative process, leading him to terracotta as a sculptural medium that allows for greater freedom. The manifestation of immersion and the depiction of a personal paradise can also be found in Gábor Szenteleki’s (1978) beach scenes. His simplified, stripped-down figures, devoid of identity markers, raise the duality of individuality and uniformity in society. Even without distinctive features, his paintings speak purely about the human being: his timeless, waterside scenes radiate the liberation and simplicity of existence. In contrast to Szenteleki’s timeless figures who shed the noise of the world, Júlia Silye (1982) portrays contemporary individuals in the form of paintings and small sculptures. Her works often present human stories, contemporary situations, and social issues with humor and irony—whether addressing the difficulties of the digital world or moments spent at Lake Balaton in summer. Yet her themes parallel the present with the past, reflecting upon it and illustrating these suddenly transformed habits and mechanisms, sometimes in a critical manner.
The exhibition is a meeting point of unique visions and shared values, where the diversity of artists and their complementary works mark a common path. It is here, through a shared respect for values, that a dialogue is created that will set the visitor on this journey.
