Zsófi Barabás comes from a family of artists, so she started to express herself artistically at quite an early age. This natural, organic attachment to the language of visual art still describes her work. She began her studies in fine arts as a graphic artist, and later painting became her main language of expression. She studied at the Hungarian University of Fine Arts in Budapest (2004), Cambridge and Tokyo (2009), and completed her doctoral studies in Pécs under the supervision of Ilona Keserü in 2022. Although drawing remained one of her favourite means of expression, she also made installations during her stay in Tokyo. She has exhibited in Moscow, Buffalo, USA, and in several venues in Hungary, including the Deák Erika Gallery.​ She speaks with ease in the language of drawing, painting and installations, but whatever she touches, her visual world emerges through an organic abstraction. Using different sizes and colours, she throws herself into this swirling world of forms, where the works – following the ideas of László F. Földényi – almost create themselves. At first glance, the abstract forms of the light, colourful paintings blend together with playful dynamics, as if they were deep-sea creatures, projections of a dream world, or even inspired by a fantastic film. In addition to the playful movement and dynamics, the shapes are meticulously crafted and the choice of colour – perhaps just as important as the ensemble of shapes – is also quite deliberate. We get the impression that the artist is – consciously or unconsciously – following her own theory of colour, which is perhaps not so surprising for an artist walking in the footsteps of Kandinsky. ​The art of Zsófi Barabás – despite the fact that the great predecessors the footsteps of whom she follows were mostly men – is clearly feminine. Joan Miró's playful forms, Hans Arp's biomorphic figures, but most of all Alexander Calder's emblematic leaf-like, moving and reflective motifs were the foundation of her path, but her use of form and colour is clearly that of a woman. Despite the predominance of painting, like Calder, she also creates drawings of space, where simple recurring motifs come to life and speak to our collective unconscious, so that they are all very familiar to us all. Délia Vékony

Zsófi Barabás comes from a family of artists, so she started to express herself artistically at quite an early age. This natural, organic attachment to the language of visual art still describes her work. She began her studies in fine arts as a graphic artist, and later painting became her main language of expression. She studied at the Hungarian University of Fine Arts in Budapest (2004), Cambridge and Tokyo (2009), and completed her doctoral studies in Pécs under the supervision of Ilona Keserü in 2022. Although drawing remained one of her favourite means of expression, she also made installations during her stay in Tokyo. She has exhibited in Moscow, Buffalo, USA, and in several venues in Hungary, including the Deák Erika Gallery.​ She speaks with ease in the language of drawing, painting and installations, but whatever she touches, her visual world emerges through an organic abstraction. Using different sizes and colours, she throws herself into this swirling world of forms, where the works – following the ideas of László F. Földényi – almost create themselves. At first glance, the abstract forms of the light, colourful paintings blend together with playful dynamics, as if they were deep-sea creatures, projections of a dream world, or even inspired by a fantastic film. In addition to the playful movement and dynamics, the shapes are meticulously crafted and the choice of colour – perhaps just as important as the ensemble of shapes – is also quite deliberate. We get the impression that the artist is – consciously or unconsciously – following her own theory of colour, which is perhaps not so surprising for an artist walking in the footsteps of Kandinsky. ​The art of Zsófi Barabás – despite the fact that the great predecessors the footsteps of whom she follows were mostly men – is clearly feminine. Joan Miró's playful forms, Hans Arp's biomorphic figures, but most of all Alexander Calder's emblematic leaf-like, moving and reflective motifs were the foundation of her path, but her use of form and colour is clearly that of a woman. Despite the predominance of painting, like Calder, she also creates drawings of space, where simple recurring motifs come to life and speak to our collective unconscious, so that they are all very familiar to us all. Délia Vékony

Zsófi Barabás comes from a family of artists, so she started to express herself artistically at quite an early age. This natural, organic attachment to the language of visual art still describes her work. She began her studies in fine arts as a graphic artist, and later painting became her main language of expression. She studied at the Hungarian University of Fine Arts in Budapest (2004), Cambridge and Tokyo (2009), and completed her doctoral studies in Pécs under the supervision of Ilona Keserü in 2022. Although drawing remained one of her favourite means of expression, she also made installations during her stay in Tokyo. She has exhibited in Moscow, Buffalo, USA, and in several venues in Hungary, including the Deák Erika Gallery.​ She speaks with ease in the language of drawing, painting and installations, but whatever she touches, her visual world emerges through an organic abstraction. Using different sizes and colours, she throws herself into this swirling world of forms, where the works – following the ideas of László F. Földényi – almost create themselves. At first glance, the abstract forms of the light, colourful paintings blend together with playful dynamics, as if they were deep-sea creatures, projections of a dream world, or even inspired by a fantastic film. In addition to the playful movement and dynamics, the shapes are meticulously crafted and the choice of colour – perhaps just as important as the ensemble of shapes – is also quite deliberate. We get the impression that the artist is – consciously or unconsciously – following her own theory of colour, which is perhaps not so surprising for an artist walking in the footsteps of Kandinsky. ​The art of Zsófi Barabás – despite the fact that the great predecessors the footsteps of whom she follows were mostly men – is clearly feminine. Joan Miró's playful forms, Hans Arp's biomorphic figures, but most of all Alexander Calder's emblematic leaf-like, moving and reflective motifs were the foundation of her path, but her use of form and colour is clearly that of a woman. Despite the predominance of painting, like Calder, she also creates drawings of space, where simple recurring motifs come to life and speak to our collective unconscious, so that they are all very familiar to us all. Délia Vékony

Zsófi Barabás comes from a family of artists, so she started to express herself artistically at quite an early age. This natural, organic attachment to the language of visual art still describes her work. She began her studies in fine arts as a graphic artist, and later painting became her main language of expression. She studied at the Hungarian University of Fine Arts in Budapest (2004), Cambridge and Tokyo (2009), and completed her doctoral studies in Pécs under the supervision of Ilona Keserü in 2022. Although drawing remained one of her favourite means of expression, she also made installations during her stay in Tokyo. She has exhibited in Moscow, Buffalo, USA, and in several venues in Hungary, including the Deák Erika Gallery.​ She speaks with ease in the language of drawing, painting and installations, but whatever she touches, her visual world emerges through an organic abstraction. Using different sizes and colours, she throws herself into this swirling world of forms, where the works – following the ideas of László F. Földényi – almost create themselves. At first glance, the abstract forms of the light, colourful paintings blend together with playful dynamics, as if they were deep-sea creatures, projections of a dream world, or even inspired by a fantastic film. In addition to the playful movement and dynamics, the shapes are meticulously crafted and the choice of colour – perhaps just as important as the ensemble of shapes – is also quite deliberate. We get the impression that the artist is – consciously or unconsciously – following her own theory of colour, which is perhaps not so surprising for an artist walking in the footsteps of Kandinsky. ​The art of Zsófi Barabás – despite the fact that the great predecessors the footsteps of whom she follows were mostly men – is clearly feminine. Joan Miró's playful forms, Hans Arp's biomorphic figures, but most of all Alexander Calder's emblematic leaf-like, moving and reflective motifs were the foundation of her path, but her use of form and colour is clearly that of a woman. Despite the predominance of painting, like Calder, she also creates drawings of space, where simple recurring motifs come to life and speak to our collective unconscious, so that they are all very familiar to us all. Délia Vékony

Zsófi Barabás comes from a family of artists, so she started to express herself artistically at quite an early age. This natural, organic attachment to the language of visual art still describes her work. She began her studies in fine arts as a graphic artist, and later painting became her main language of expression. She studied at the Hungarian University of Fine Arts in Budapest (2004), Cambridge and Tokyo (2009), and completed her doctoral studies in Pécs under the supervision of Ilona Keserü in 2022. Although drawing remained one of her favourite means of expression, she also made installations during her stay in Tokyo. She has exhibited in Moscow, Buffalo, USA, and in several venues in Hungary, including the Deák Erika Gallery.​ She speaks with ease in the language of drawing, painting and installations, but whatever she touches, her visual world emerges through an organic abstraction. Using different sizes and colours, she throws herself into this swirling world of forms, where the works – following the ideas of László F. Földényi – almost create themselves. At first glance, the abstract forms of the light, colourful paintings blend together with playful dynamics, as if they were deep-sea creatures, projections of a dream world, or even inspired by a fantastic film. In addition to the playful movement and dynamics, the shapes are meticulously crafted and the choice of colour – perhaps just as important as the ensemble of shapes – is also quite deliberate. We get the impression that the artist is – consciously or unconsciously – following her own theory of colour, which is perhaps not so surprising for an artist walking in the footsteps of Kandinsky. ​The art of Zsófi Barabás – despite the fact that the great predecessors the footsteps of whom she follows were mostly men – is clearly feminine. Joan Miró's playful forms, Hans Arp's biomorphic figures, but most of all Alexander Calder's emblematic leaf-like, moving and reflective motifs were the foundation of her path, but her use of form and colour is clearly that of a woman. Despite the predominance of painting, like Calder, she also creates drawings of space, where simple recurring motifs come to life and speak to our collective unconscious, so that they are all very familiar to us all. Délia Vékony

Zsófi Barabás comes from a family of artists, so she started to express herself artistically at quite an early age. This natural, organic attachment to the language of visual art still describes her work. She began her studies in fine arts as a graphic artist, and later painting became her main language of expression. She studied at the Hungarian University of Fine Arts in Budapest (2004), Cambridge and Tokyo (2009), and completed her doctoral studies in Pécs under the supervision of Ilona Keserü in 2022. Although drawing remained one of her favourite means of expression, she also made installations during her stay in Tokyo. She has exhibited in Moscow, Buffalo, USA, and in several venues in Hungary, including the Deák Erika Gallery.​ She speaks with ease in the language of drawing, painting and installations, but whatever she touches, her visual world emerges through an organic abstraction. Using different sizes and colours, she throws herself into this swirling world of forms, where the works – following the ideas of László F. Földényi – almost create themselves. At first glance, the abstract forms of the light, colourful paintings blend together with playful dynamics, as if they were deep-sea creatures, projections of a dream world, or even inspired by a fantastic film. In addition to the playful movement and dynamics, the shapes are meticulously crafted and the choice of colour – perhaps just as important as the ensemble of shapes – is also quite deliberate. We get the impression that the artist is – consciously or unconsciously – following her own theory of colour, which is perhaps not so surprising for an artist walking in the footsteps of Kandinsky. ​The art of Zsófi Barabás – despite the fact that the great predecessors the footsteps of whom she follows were mostly men – is clearly feminine. Joan Miró's playful forms, Hans Arp's biomorphic figures, but most of all Alexander Calder's emblematic leaf-like, moving and reflective motifs were the foundation of her path, but her use of form and colour is clearly that of a woman. Despite the predominance of painting, like Calder, she also creates drawings of space, where simple recurring motifs come to life and speak to our collective unconscious, so that they are all very familiar to us all. Délia Vékony

Zsófi Barabás comes from a family of artists, so she started to express herself artistically at quite an early age. This natural, organic attachment to the language of visual art still describes her work. She began her studies in fine arts as a graphic artist, and later painting became her main language of expression. She studied at the Hungarian University of Fine Arts in Budapest (2004), Cambridge and Tokyo (2009), and completed her doctoral studies in Pécs under the supervision of Ilona Keserü in 2022. Although drawing remained one of her favourite means of expression, she also made installations during her stay in Tokyo. She has exhibited in Moscow, Buffalo, USA, and in several venues in Hungary, including the Deák Erika Gallery.​ She speaks with ease in the language of drawing, painting and installations, but whatever she touches, her visual world emerges through an organic abstraction. Using different sizes and colours, she throws herself into this swirling world of forms, where the works – following the ideas of László F. Földényi – almost create themselves. At first glance, the abstract forms of the light, colourful paintings blend together with playful dynamics, as if they were deep-sea creatures, projections of a dream world, or even inspired by a fantastic film. In addition to the playful movement and dynamics, the shapes are meticulously crafted and the choice of colour – perhaps just as important as the ensemble of shapes – is also quite deliberate. We get the impression that the artist is – consciously or unconsciously – following her own theory of colour, which is perhaps not so surprising for an artist walking in the footsteps of Kandinsky. ​The art of Zsófi Barabás – despite the fact that the great predecessors the footsteps of whom she follows were mostly men – is clearly feminine. Joan Miró's playful forms, Hans Arp's biomorphic figures, but most of all Alexander Calder's emblematic leaf-like, moving and reflective motifs were the foundation of her path, but her use of form and colour is clearly that of a woman. Despite the predominance of painting, like Calder, she also creates drawings of space, where simple recurring motifs come to life and speak to our collective unconscious, so that they are all very familiar to us all. Délia Vékony

Zsófi Barabás comes from a family of artists, so she started to express herself artistically at quite an early age. This natural, organic attachment to the language of visual art still describes her work. She began her studies in fine arts as a graphic artist, and later painting became her main language of expression. She studied at the Hungarian University of Fine Arts in Budapest (2004), Cambridge and Tokyo (2009), and completed her doctoral studies in Pécs under the supervision of Ilona Keserü in 2022. Although drawing remained one of her favourite means of expression, she also made installations during her stay in Tokyo. She has exhibited in Moscow, Buffalo, USA, and in several venues in Hungary, including the Deák Erika Gallery.​ She speaks with ease in the language of drawing, painting and installations, but whatever she touches, her visual world emerges through an organic abstraction. Using different sizes and colours, she throws herself into this swirling world of forms, where the works – following the ideas of László F. Földényi – almost create themselves. At first glance, the abstract forms of the light, colourful paintings blend together with playful dynamics, as if they were deep-sea creatures, projections of a dream world, or even inspired by a fantastic film. In addition to the playful movement and dynamics, the shapes are meticulously crafted and the choice of colour – perhaps just as important as the ensemble of shapes – is also quite deliberate. We get the impression that the artist is – consciously or unconsciously – following her own theory of colour, which is perhaps not so surprising for an artist walking in the footsteps of Kandinsky. ​The art of Zsófi Barabás – despite the fact that the great predecessors the footsteps of whom she follows were mostly men – is clearly feminine. Joan Miró's playful forms, Hans Arp's biomorphic figures, but most of all Alexander Calder's emblematic leaf-like, moving and reflective motifs were the foundation of her path, but her use of form and colour is clearly that of a woman. Despite the predominance of painting, like Calder, she also creates drawings of space, where simple recurring motifs come to life and speak to our collective unconscious, so that they are all very familiar to us all. Délia Vékony

Zsófi Barabás comes from a family of artists, so she started to express herself artistically at quite an early age. This natural, organic attachment to the language of visual art still describes her work. She began her studies in fine arts as a graphic artist, and later painting became her main language of expression. She studied at the Hungarian University of Fine Arts in Budapest (2004), Cambridge and Tokyo (2009), and completed her doctoral studies in Pécs under the supervision of Ilona Keserü in 2022. Although drawing remained one of her favourite means of expression, she also made installations during her stay in Tokyo. She has exhibited in Moscow, Buffalo, USA, and in several venues in Hungary, including the Deák Erika Gallery.​ She speaks with ease in the language of drawing, painting and installations, but whatever she touches, her visual world emerges through an organic abstraction. Using different sizes and colours, she throws herself into this swirling world of forms, where the works – following the ideas of László F. Földényi – almost create themselves. At first glance, the abstract forms of the light, colourful paintings blend together with playful dynamics, as if they were deep-sea creatures, projections of a dream world, or even inspired by a fantastic film. In addition to the playful movement and dynamics, the shapes are meticulously crafted and the choice of colour – perhaps just as important as the ensemble of shapes – is also quite deliberate. We get the impression that the artist is – consciously or unconsciously – following her own theory of colour, which is perhaps not so surprising for an artist walking in the footsteps of Kandinsky. ​The art of Zsófi Barabás – despite the fact that the great predecessors the footsteps of whom she follows were mostly men – is clearly feminine. Joan Miró's playful forms, Hans Arp's biomorphic figures, but most of all Alexander Calder's emblematic leaf-like, moving and reflective motifs were the foundation of her path, but her use of form and colour is clearly that of a woman. Despite the predominance of painting, like Calder, she also creates drawings of space, where simple recurring motifs come to life and speak to our collective unconscious, so that they are all very familiar to us all. Délia Vékony