Árpád Forgó (*1972 in Budapest) is interested in experimental painting, in the question of broadening the interpretation of non-figurative panel painting by keeping its painting feature and by exploring the borderline between painting and sculpture. His shaped canvas works are built from his pre-defined modular system, where structure, shape, measurements and rhythm as well as the planar and spatial relationships are in the focus of his research. He is intensively experimenting with materials in order to create different surfaces that characterise each of his works. In recent years, the rectangular modules were tilted and the new parallelogram-shaped modules made the compositions dynamic.

Árpád Forgó's works fit into the stream of contemporary art, which develops the heritage of abstraction with its own methods. The versatility of his compositions only opens up to the viewer when he moves in front of the work; surrounding space, air, light, shadow become part of it.

The artist, who lives in Budapest, clearly follows the tradition of Concrete Art, but expands it with a playful approach and a love of experimentation. Forgó creates works with a luminosity and colour intensity that offer us wonderfully sensual stimuli. He seduces the viewer to look closely and check whether he can believe his eyes. The subtle gradient of colour on a canvas, for example, is created by the curvature of a slightly three-dimensional stretched canvas. Here the artist explores the boundary between "shaped canvas" and object-like pictorial body. Yet his works always remain paintings and do not question it. The colours the artist uses radiate. The reflection of them on the wall extends the picture beyond its boundaries. The craft element of his mostly formally reduced constructions is always important and always of great appeal. Beauty and joy as a moment of experience are in successful dialogue with deliberate conceptual limitation.

Forgó was born in Budapest, Hungary. He has participated in group shows widely at galleries and museums, including Ludwig Museum and Vasarely Museum, Hungary; Museum Ritter, Germany; Mark Rothko Art Center, Latvia; and Griffin Gallery, UK. The artist had solo shows at Anya Tish Gallery, Houston, USA; Milano Gallery, Warsaw, Poland; Rómer Flóris Museum of Art and History and Viltin Gallery in Hungary. He has been invited to numerous artist-in-residence programs, including The Vermont Studio Center, USA; Sydney Non Objective Contemporary Art Projects, Australia; The Swatch Art Peace Hotel, Shanghai, China and most recently The Josef and Anni Albers Foundation, Connecticut, USA. Currently he is a grantee of The Pollock-Krasner Foundation.

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.