The small-scale prints of Csaba Fürjesi (1969) are constructed from delicate networks of lines. From these lines emerge figures, gestures, and visual fragments that together suggest a multilayered narrative. Although the works are small in size, they demand concentrated attention and careful observation, as each piece contains a fragment of thought — an autonomous and self-contained mental space. The repetition and transformation of motifs and figures, along with the sequencing of the images, create a rhythm in which the sense of time and space gradually dissolves.

In parallel — both literally and metaphorically — the sculptures of Áron Majoros (1982) are built from segments and slices. His sculptures do not merely exist as autonomous forms; they actively shape the surrounding space. His works often examine the relationship between part and whole, absence and completeness. Rather than simply fitting into space, they transform it. They create permeability between interior and exterior worlds, between personal and collective spaces.

Fürjesi’s lines and Majoros’s slices speak in different visual languages and operate on different scales, yet they transform space in remarkably similar ways. They do not merely occupy space — they create it themselves. Parallel Perspectives is an encounter where two distinct worlds do not merge, but instead coexist side by side, opening up new ways of seeing.

This exhibition does not offer fixed answers; rather, it initiates movement — through space, thought, and perception. Here, parallelism signifies not distance, but proximity, and the viewer’s freedom to construct their own interpretation.