Architecture is exerting an ever–greater influence on Kristóf Kecső’s sculpture. A few exhibitions ago, an analysis approaching the work from the perspective of geometric abstraction might have captured its essence, but today such an approach would remain stuck on the surface, confined to formalism. As his attraction to architecture — and, within that, to monumental Brutalism — grows stronger, his simple forms are slowly being reinterpreted. His squares are less and less like mathematical plane figures and more and more like slit-like windows through which we try to catch a glimpse of a modernist skyscraper. His parallel lines are no longer mere edges but rather corridors leading to a secret room, to an interior space.
In this gradual shift, of course, he retains the symbolism of the forms; the perfection of symmetry and the stillness of reflection remain intact, as does the balance of a world order based on opposites, but the artist no longer treats these as distant ideals, but rather as fundamental elements of architecture. He reaches for material reality, where the space of the sculpture is something into which one can penetrate — at least in thought — and which is capable of enveloping a secure and clear space like armor. His pairs of proportions seek to affect physical sensations; his boxed metal blocks are miniature buildings.