It is always a challenge to present the work of two artists together, especially when juxtaposing artists as diverse as István Nádler (1939) and Eric Kressnig (1973). Both work in different media that are interrelated, yet the painterly language is essential to understanding their work. The refinement of the colour palette, the variety of media and textures are key elements in the work of both artists.
István Nádler’s notion of “emotional geometry” was mentioned in an interview with Hans Ulrich Obrist, in which the tension between rational and intuitive approaches is at play. In his compositions, the geometric forms of the square, the diagonal line and the spiral appear, symbolising existence, the passage of time and change. Eric Kressnig builds on the tradition of geometry, but adds emotional registers by using different materials such as wood, plexiglass or polished steel. These materials also raise the question of proportion, where the proportions of the human body serve as inspiration.
Both artists use a radical compositional rigour and a minimalist language: “gesture, line, monochrome surface”. Their works reflect both a systematic precision and a human emotion. The curatorial concept of Pia Jardí and Júlia N. Mészáros emphasises that their works convey deep intellectual and human experiences through the language of geometry.