Árpád Forgó (*1972), visual artist, living and working in Budapest, Hungary, is a representative of the long-tradition shaped canvas movement in the Hungarian contemporary art scene. He has exhibited widely, including solo shows with Schlieder Contemporary (Frankfurt), Anya Tish Gallery (Houston), Rómer Flóris Museum of Art and History (Győr, Hungary), and two-person exhibitions at Gallery Biesenbach, Cologne; BABEL Art Space, Trondheim and KKKC, Klaipeda, Lithuania. He participated in group shows at prestigious institutions, including the Ludwig Museum and Vasarely Museum (Budapest), Museum Ritter (Waldenbuch) and Rothko Museum (Daugavpils). Artist-in-residence programs have always played significant role in his career; among others, he was invited by the Vermont Studio Center (USA), the Josef and Anni Albers Foundation (USA), Sydney Non Objective Contemporary Art Projects (Australia), Montresso Art Foundation (Morocco), and most recently by CCA Andratx in Mallorca, Spain. He was a Pollock-Krasner Foundation grantee in the years 2019-2020.

Árpád Forgó is interested in experimental painting, in the question of broadening the interpretation of non-figurative painting by keeping its painting feature and by exploring the borderline between painting and sculpture. Structure, shape, measurements and rhythm together with planar and spatial relationships are the focuses of his research. He investigates the relation between one and several, the issue of cardinality, oneness, unity and division, the whole and the segment. He mainly works with traditional painting materials - paint, canvas and wood-; aiming for industrial perfection, still keeping the craftsmanship of the process.

He has been researching modularity and perception, which he considers exciting fields to expand boundaries of a wall work. He keeps developing shaped canvas panels and through isometric transformations, building block-like, hollow, symmetrical or unsymmetrical modular compositions. He also experiments intensively with different compound painting processes in order to challenge the viewer’s perception not only by the structure but also by the material.

Currently, he is working on the Formula set, which is a synthesis of his earlier series.

In the works of Hanna Kaminski (*1988 in San Francisco, lives and works in Berlin), the picture support resembles a landscape of iridescent colour applications in which the forms are created by overlapping layers of paint. The paintings present an open, surreal and cartoonesque visual language. Always on the edge of the recognisable, the already seen, the forms elude any overly quick interpretation. For Hanna Kaminski, the medium of painting is a means of dissolving initial, motivic ideas and developing her own formal language. Random moments in the working process require her active, conscious reaction and keep the creation of her paintings in constant, productive tension. It is not only the motif that tells the story, but also the medium itself. Traces of overpainted layers speak of time and the process of her work.

Text by Miriam Schwarz (2024):
In her minimalist paintings, Hanna Kaminski allows us to experience how the interplay of color and form develops a vocabulary all of its own. Layer by layer, she explores the tense relationship between colors and shapes, decodes and playfully reassembles it in her own artistic alphabet.

Text by Carolin Kralapp (2023):
Hanna Kaminski applies layer upon layer of colours to the canvas, which take over the painting surface in iridescent forms and unfold in open shapes. Sometimes undefined, sometimes very clear forms come up against permeable brushstrokes that allow associations with figuration but do not impose themselves strictly. Hanna Kaminski examines initial motivic ideas in terms of what remains when we forget what we are doing. In doing so, she uses the medium of painting as an aid to detach herself more and more from initial ideas in the working process.
The forms and colours she finds are in constant coherence in her works, are interdependent and in a tangible relationship of tension that unites both poles on the canvas. A liberating lightness and enormous power are revealed, which enter into a symbiosis. Hanna Kaminski uses painting specifically to visualise a working process, revealing new layers of paint and releasing forms that were not yet firmly inscribed in the work at the beginning.
The artist visualises a playful and explorative artistic process, which we as viewers can follow with excitement on the canvases.