MATERIAL MADE VISIBLE – Solo show at Heart&Cherry Gallery/ 2026
Curated by Zita Sarvari
Photos by David Biro
The works in the exhibition operate at the boundaries of painting, where distinctive geometric forms and shaped canvases are not merely carriers of meaning but active agents in its formation. The picture plane ceases to function as a neutral surface: form itself becomes a gesture, evoking the radical turning points of modernism—such as Kazimir Malevich’s Suprematist abstraction or Frank Stella’s shaped canvases, where the body of the image entersspace as a statement in its own right.
The use of special papers further nuances this line of thinking: the materiality of the support isnot a background but an autonomous, sensuous factor. In the case of the paper works, embossing plays a prominent role, extending visuality into a tactile dimension. This practice also draws on strong traditions within Hungarian art: the refined, conceptually disciplined paper works of Katalin Hetey and the constructivist reliefs of Tibor Gáyor both designate that boundary zone where drawing, graphic art, and sculpture converge.
The use of materials consciously turns toward nature: special dye plants—chamomile, dandelion, pomegranate—serve as sources of pigment, recalling centuries-old practices of traditional textile dyeing. This archaic knowledge does not appear as nostalgic quotation but as a method reinterpreted in a contemporary context, evoking the material sensibility of Arte Povera or the organic thinking of Joseph Beuys. The translucency and fragility of plant-based colors carry the experience of impermanence, while creating a subtle tension with the rationality of geometric composition.
The overall effect of the exhibition is sensuous and lyrical: surfaces, colors, and forms enter into a quiet, meditative dialogue with one another and with the viewer’s body. Alongside vision, the memory of touch is also activated; the delicate shadows of relief-like structures introduce a sense of temporality into the act of viewing. This painting does not offer a narrative but presence—an immersive, sensory experience akin to the meditative abstraction of Agnes Martin. Within the works, nature, form, and material exist not in a hierarchical orderbut interpenetrate one another, opening a space—through restrained intensity—for the viewer’s contemplative presence.
