Residents

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

I live and create in Budapest. As a painter, I explore the sensual, deeply layered world of nature. My paintings unfold as inner landscapes – I do not strive for a precise depiction of reality, but rather for an articulation of an inner nature. My work is characterized by organic shapes, stylized plant structures, recurring rhythms, and meditative, harmonious compositions.
Balance is especially important to me during the creative process: the relationship between form and space, the softness of color transitions, the harmony between delicate details and the overall visual impression. Painting, for me, is not merely a form of expression, but a way of seeking connection – I navigate the borderlands of the natural world, the unconscious, and human sensitivity.
I mostly work with oil, acrylic, and airbrush techniques. The plants, trees, leaves, and flowers appearing in my paintings do not represent specific species, but rather evoke archetypes – in these forms, the timeless power of nature meets the imagery of the human inner world. Recurring elements such as springs, blooming, labyrinths, or the spiral motif of growth sketch out a kind of spiritual map.
My paintings seek to create spaces of stillness, inner attention, and connection with nature. My aim is to invite the viewer to pause for a moment, to enter this dreamlike, vegetal universe – and, in doing so, to encounter themselves.

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.