The aesthetics of weightlessness

Group exhibition. Lightness, floating, transparency, dissolution. Bodies deprived of the law of gravity, lightened materials, seemingly weightless forms, misty, translucent, swirling layers of paint, waves and shapes running into infinity, creating a sense of lifting off and moving away from the canvas.

The condition for floating is that the density of the body must be equal to the density of the liquid, at which point the forces balance each other out. In a figurative sense, abstract forms "bodies" float in the density of the canvas or space, the "liquid." This state is about lightness, in a physical medium that is capable of breaking away from familiar reality. The exhibition "The Aesthetics of Weightlessness" is a visual experiment in how mass and gravity can be dissolved through the mediums of art—in this case, concrete, carbon, and metal sculptures, canvas paintings, and paintings that function as objects. By reinterpreting the aesthetic and conceptual aspects of lightness, weightlessness appears not only in the physical dimension: floating structures and openwork materials create a new kind of sensual presence.

Sculpture of Nóra Szirmai

In her works, Nóra Szirmai draws parallels between the airiness and lightness of the wing structure of beetles and the veins of drying leaves by working with steel. Through her sculptures, she reveals the tangible, visible form of often hidden connections, systems, and networks.

Márton Romvári's latest series, Fluidity, represents a new direction in his painting. Although he is still preoccupied with mapping, his compositions are now composed of airy, fluidly spreading spots and swirling, mist-like aggregates instead of tiny forms. The bright, sometimes vibrant paint spots placed vertically on top of each other create a three-dimensional effect in contrast to the dark background.

Tomasz Piars' abstract paintings are characterized by the collision of dimensions and forms, vibration, continuous movement, and dynamics. His latest series is a "Simulated Reality" in which he does not transpose structures that exist in reality into his own visual space, but builds an artificial world with its own laws, a fictional system of his own creation. Its two- and three-dimensional, organic and geometric elements are layered on top of each other almost weightlessly.

Bálint Miksa's works freely depart from the physical constraints of the frame, instead becoming abstract compositions that create a floating effect. "His images are energy fields that sometimes explode, sometimes suck in, sometimes push out, spin, and fly away. To achieve this, he applies thousands of tiny brushstrokes to the surface of the painting, placing small colorful gestures next to and above each other, creating structures that look different when viewed from near and far. Then comes the moment of birth, when the images break out of their shell and, with a little help, find their place in the world, floating.” (Katalin Nagy T.)