Residents

Benedek Tom

My practice goes around themes like the everyday and the quotidian, domestic and family, private or public and the division between them. I am looking at these themes in the context of our hyper-connected world that changes and shifts their meaning, blurring the boundaries of the categories. Painting for me is a tool I use to investigate and explore the above-mentioned themes and for that, I choose subject matter from my direct and indirect surroundings. I underpin questions like how painting works when everything is instantly reachable via technology, how painting as a medium can stay relevant and how it can fit in the rapidly changing forms of contemporary communication.

Fazekas Dániel

For example, it was clear from the very first hours that for Dániel Fazekas, the artists' camps are all-inclusive work camps. Contrary to popular belief, not everyone tries to replicate Woodstock at such events, as the invitation implies a certain obligation to perform, especially if one makes graphic precision the holy grail of one's practice. In fact, Fazekas only recalls the 19th century in his monomania, but in all other respects he has designed for the 21st century: he has added his own compressor to the machinery of the farm building that has been converted from a tractor garage into a studio, since the brush is no longer a disc, and now the airbrush (the little brother of the airgun, the car painter's weapon of choice) is taking over.

Excerpt from Tímea Fülöp's article "Notes from a curator's diary" in Új Művészet.

Kovács Gabriella

From the beginning, my career was driven by my love of art, and I felt painting was my path among several of my favourite art forms, so I graduated in it. I consider myself a creative person, I am always working on something, a habit that has accompanied my daily life since childhood. I am an experimental artist, I love both classical and new media and their combination. My paintings include both figurative and abstract elements, I prefer oil on canvas techniques nowadays, but I have also had periods of loose painting. I am also interested in installation, especially when representing my own work, I like to use the available exhibition space to suit the message, using additional elements, whether acoustic, visual or material, to create the atmosphere.

Lakatos Gelléri Barnabás

Barnabás Lakatos Gelléri (1997) managed to develop his trademark sensual, symbolist and expressive figuration before he graduated from Eszter Radák's painting class at the Hungarian University of Fine Arts. Although the young artist mostly transposes the aesthetics of the 90s into post-internet painting, by his own admission, his paintings still typically operate with a timeless set of symbols. The artist's latest cycle of vibrant and highly colourful compositions are populated by personified animals from fairy tales, animated films, myths and even the Bible, which are jungle-like interwoven into the flora of the images. Barnabás Lakatos Gelléri's figures are ancient, universal symbols deeply embedded in our culture, which can be read in a number of other interpretative frameworks, in addition to a kind of private mythological reading. The young painter also uses increasingly radical, free and loose gestural painting techniques to shape his figures in his latest canvases, which retell the story of the Wonder Stag, one of the most well-known and most influential Hungarian sagas.

Marosi Panni

My work focuses on exploring things that surround us, such as intimate spaces, interiors, and objects with personal meanings. My interest is centered around personal identity and its mapping through objects. I mainly work with oil and acrylic paints, a classical technique, with an emphasis on colors and recurring motives.

I am deeply inspired by the traditional art forms of different folks. The repetition of patterns in an alternating rhythm is one of the main characteristics of my artwork, such as North-African, Oriental, and similar kinds of motives that I discovered during my travels. I am continuously making countless sketches and photos of patterns and motives that are found on tilework and on traditional potteries to expand my collection of motifs. These patterns with various meanings serve as an inspiration for my paintings.

I create imaginary spaces, fictitious interiors, and still lifes by using various kinds of patterns. Showing the many different motifs in one composition, giving them a new meaning and context. The classical categorization suggests a lot of possibilities for contemporary adaptation. Sticking to the virtues of painting itself through color, flatness, and simplification of shapes, I attempt to create a sensible, nostalgic atmosphere where anything is possible. Through these artworks, I would like to find connections to people, dive into the world of different cultures of nations. I would like to suggest a different way of thinking about the fragments of the artificial, human-created world that surrounds us.