Erika Fábián was born in 1988 in Budapest. She graduated from the Hungarian University of Fine Arts in 2014, majoring in graphic design. Her art is based on a slow, in-depth creative process. Her abstract works are characterized by the all-over compositions of thousands of dots, most of which are backed with emotional-sensual processes: the dots and dots are a record of memories, feelings and traumas. The self-interpreting, mental processes are thus manifested in minimal gestures and raise questions about the ambiguity and interpretation of abstract art. The surface of the image, covered with tiny dots, is the unique signature of her series, sometimes a composition of chromatic processes (Pink diptych I-II, Viola, 2018-19), where sometimes it means the dynamic densification and regression of forms (Untitled I-VII, 2015), sometimes they are held in monochromaticity. For her black-and-white works, she prefers to use lithographic chalk with a greasy composition, whose fine grain produces a delicate surface effect on the paper composed of tonal differences. The colorful dots of Quiet Rituals (2019-21) are placed on wooden cubes or divided by a grid of squares. In some of the series, she turns to the work of artists who have influenced her: As Slow As Possible (2015-16) refers to John Cage's music piece of the same title, while Praise Hommage to Agnes Martin (2020) refers to the American artist's painting, which is associated to both minimalism and abstract expressionism. In her latest series, Erika Fábián has started to use a new technique. She cuts the digital prints of her own childhood drawings into strips, which she uses to create insect-shaped paper weavings: the lyricism of the color-drawing surfaces and the geometry of the weaving create the inherent complexity of the insect forms. In 2011 she was awarded the Jenő Barcsay Foundation Prize, in 2013 she won the Hungarian Graphic Artists Association Scholarship. She has been participating in group and solo exhibitions at home and abroad since 2011. In 2019, she exhibited her work at Art Up in Lille and in 2022 at ARCOmadrid contemporary art fairs. Since 2021, she is featured on secondaryarchive.org, the online platform for women artists from the Central and Eastern European region. She has been a lecturer at the Department of Fine Arts at Eszterházy Károly Catholic University since 2019. In Hungary she is represented by Molnár Ani Gallery. Lili Boros

Erika Fábián was born in 1988 in Budapest. She graduated from the Hungarian University of Fine Arts in 2014, majoring in graphic design. Her art is based on a slow, in-depth creative process. Her abstract works are characterized by the all-over compositions of thousands of dots, most of which are backed with emotional-sensual processes: the dots and dots are a record of memories, feelings and traumas. The self-interpreting, mental processes are thus manifested in minimal gestures and raise questions about the ambiguity and interpretation of abstract art. The surface of the image, covered with tiny dots, is the unique signature of her series, sometimes a composition of chromatic processes (Pink diptych I-II, Viola, 2018-19), where sometimes it means the dynamic densification and regression of forms (Untitled I-VII, 2015), sometimes they are held in monochromaticity. For her black-and-white works, she prefers to use lithographic chalk with a greasy composition, whose fine grain produces a delicate surface effect on the paper composed of tonal differences. The colorful dots of Quiet Rituals (2019-21) are placed on wooden cubes or divided by a grid of squares. In some of the series, she turns to the work of artists who have influenced her: As Slow As Possible (2015-16) refers to John Cage's music piece of the same title, while Praise Hommage to Agnes Martin (2020) refers to the American artist's painting, which is associated to both minimalism and abstract expressionism. In her latest series, Erika Fábián has started to use a new technique. She cuts the digital prints of her own childhood drawings into strips, which she uses to create insect-shaped paper weavings: the lyricism of the color-drawing surfaces and the geometry of the weaving create the inherent complexity of the insect forms. In 2011 she was awarded the Jenő Barcsay Foundation Prize, in 2013 she won the Hungarian Graphic Artists Association Scholarship. She has been participating in group and solo exhibitions at home and abroad since 2011. In 2019, she exhibited her work at Art Up in Lille and in 2022 at ARCOmadrid contemporary art fairs. Since 2021, she is featured on secondaryarchive.org, the online platform for women artists from the Central and Eastern European region. She has been a lecturer at the Department of Fine Arts at Eszterházy Károly Catholic University since 2019. In Hungary she is represented by Molnár Ani Gallery. Lili Boros

Erika Fábián was born in 1988 in Budapest. She graduated from the Hungarian University of Fine Arts in 2014, majoring in graphic design. Her art is based on a slow, in-depth creative process. Her abstract works are characterized by the all-over compositions of thousands of dots, most of which are backed with emotional-sensual processes: the dots and dots are a record of memories, feelings and traumas. The self-interpreting, mental processes are thus manifested in minimal gestures and raise questions about the ambiguity and interpretation of abstract art. The surface of the image, covered with tiny dots, is the unique signature of her series, sometimes a composition of chromatic processes (Pink diptych I-II, Viola, 2018-19), where sometimes it means the dynamic densification and regression of forms (Untitled I-VII, 2015), sometimes they are held in monochromaticity. For her black-and-white works, she prefers to use lithographic chalk with a greasy composition, whose fine grain produces a delicate surface effect on the paper composed of tonal differences. The colorful dots of Quiet Rituals (2019-21) are placed on wooden cubes or divided by a grid of squares. In some of the series, she turns to the work of artists who have influenced her: As Slow As Possible (2015-16) refers to John Cage's music piece of the same title, while Praise Hommage to Agnes Martin (2020) refers to the American artist's painting, which is associated to both minimalism and abstract expressionism. In her latest series, Erika Fábián has started to use a new technique. She cuts the digital prints of her own childhood drawings into strips, which she uses to create insect-shaped paper weavings: the lyricism of the color-drawing surfaces and the geometry of the weaving create the inherent complexity of the insect forms. In 2011 she was awarded the Jenő Barcsay Foundation Prize, in 2013 she won the Hungarian Graphic Artists Association Scholarship. She has been participating in group and solo exhibitions at home and abroad since 2011. In 2019, she exhibited her work at Art Up in Lille and in 2022 at ARCOmadrid contemporary art fairs. Since 2021, she is featured on secondaryarchive.org, the online platform for women artists from the Central and Eastern European region. She has been a lecturer at the Department of Fine Arts at Eszterházy Károly Catholic University since 2019. In Hungary she is represented by Molnár Ani Gallery. Lili Boros

Erika Fábián was born in 1988 in Budapest. She graduated from the Hungarian University of Fine Arts in 2014, majoring in graphic design. Her art is based on a slow, in-depth creative process. Her abstract works are characterized by the all-over compositions of thousands of dots, most of which are backed with emotional-sensual processes: the dots and dots are a record of memories, feelings and traumas. The self-interpreting, mental processes are thus manifested in minimal gestures and raise questions about the ambiguity and interpretation of abstract art. The surface of the image, covered with tiny dots, is the unique signature of her series, sometimes a composition of chromatic processes (Pink diptych I-II, Viola, 2018-19), where sometimes it means the dynamic densification and regression of forms (Untitled I-VII, 2015), sometimes they are held in monochromaticity. For her black-and-white works, she prefers to use lithographic chalk with a greasy composition, whose fine grain produces a delicate surface effect on the paper composed of tonal differences. The colorful dots of Quiet Rituals (2019-21) are placed on wooden cubes or divided by a grid of squares. In some of the series, she turns to the work of artists who have influenced her: As Slow As Possible (2015-16) refers to John Cage's music piece of the same title, while Praise Hommage to Agnes Martin (2020) refers to the American artist's painting, which is associated to both minimalism and abstract expressionism. In her latest series, Erika Fábián has started to use a new technique. She cuts the digital prints of her own childhood drawings into strips, which she uses to create insect-shaped paper weavings: the lyricism of the color-drawing surfaces and the geometry of the weaving create the inherent complexity of the insect forms. In 2011 she was awarded the Jenő Barcsay Foundation Prize, in 2013 she won the Hungarian Graphic Artists Association Scholarship. She has been participating in group and solo exhibitions at home and abroad since 2011. In 2019, she exhibited her work at Art Up in Lille and in 2022 at ARCOmadrid contemporary art fairs. Since 2021, she is featured on secondaryarchive.org, the online platform for women artists from the Central and Eastern European region. She has been a lecturer at the Department of Fine Arts at Eszterházy Károly Catholic University since 2019. In Hungary she is represented by Molnár Ani Gallery. Lili Boros

Erika Fábián was born in 1988 in Budapest. She graduated from the Hungarian University of Fine Arts in 2014, majoring in graphic design. Her art is based on a slow, in-depth creative process. Her abstract works are characterized by the all-over compositions of thousands of dots, most of which are backed with emotional-sensual processes: the dots and dots are a record of memories, feelings and traumas. The self-interpreting, mental processes are thus manifested in minimal gestures and raise questions about the ambiguity and interpretation of abstract art. The surface of the image, covered with tiny dots, is the unique signature of her series, sometimes a composition of chromatic processes (Pink diptych I-II, Viola, 2018-19), where sometimes it means the dynamic densification and regression of forms (Untitled I-VII, 2015), sometimes they are held in monochromaticity. For her black-and-white works, she prefers to use lithographic chalk with a greasy composition, whose fine grain produces a delicate surface effect on the paper composed of tonal differences. The colorful dots of Quiet Rituals (2019-21) are placed on wooden cubes or divided by a grid of squares. In some of the series, she turns to the work of artists who have influenced her: As Slow As Possible (2015-16) refers to John Cage's music piece of the same title, while Praise Hommage to Agnes Martin (2020) refers to the American artist's painting, which is associated to both minimalism and abstract expressionism. In her latest series, Erika Fábián has started to use a new technique. She cuts the digital prints of her own childhood drawings into strips, which she uses to create insect-shaped paper weavings: the lyricism of the color-drawing surfaces and the geometry of the weaving create the inherent complexity of the insect forms. In 2011 she was awarded the Jenő Barcsay Foundation Prize, in 2013 she won the Hungarian Graphic Artists Association Scholarship. She has been participating in group and solo exhibitions at home and abroad since 2011. In 2019, she exhibited her work at Art Up in Lille and in 2022 at ARCOmadrid contemporary art fairs. Since 2021, she is featured on secondaryarchive.org, the online platform for women artists from the Central and Eastern European region. She has been a lecturer at the Department of Fine Arts at Eszterházy Károly Catholic University since 2019. In Hungary she is represented by Molnár Ani Gallery. Lili Boros

Erika Fábián was born in 1988 in Budapest. She graduated from the Hungarian University of Fine Arts in 2014, majoring in graphic design. Her art is based on a slow, in-depth creative process. Her abstract works are characterized by the all-over compositions of thousands of dots, most of which are backed with emotional-sensual processes: the dots and dots are a record of memories, feelings and traumas. The self-interpreting, mental processes are thus manifested in minimal gestures and raise questions about the ambiguity and interpretation of abstract art. The surface of the image, covered with tiny dots, is the unique signature of her series, sometimes a composition of chromatic processes (Pink diptych I-II, Viola, 2018-19), where sometimes it means the dynamic densification and regression of forms (Untitled I-VII, 2015), sometimes they are held in monochromaticity. For her black-and-white works, she prefers to use lithographic chalk with a greasy composition, whose fine grain produces a delicate surface effect on the paper composed of tonal differences. The colorful dots of Quiet Rituals (2019-21) are placed on wooden cubes or divided by a grid of squares. In some of the series, she turns to the work of artists who have influenced her: As Slow As Possible (2015-16) refers to John Cage's music piece of the same title, while Praise Hommage to Agnes Martin (2020) refers to the American artist's painting, which is associated to both minimalism and abstract expressionism. In her latest series, Erika Fábián has started to use a new technique. She cuts the digital prints of her own childhood drawings into strips, which she uses to create insect-shaped paper weavings: the lyricism of the color-drawing surfaces and the geometry of the weaving create the inherent complexity of the insect forms. In 2011 she was awarded the Jenő Barcsay Foundation Prize, in 2013 she won the Hungarian Graphic Artists Association Scholarship. She has been participating in group and solo exhibitions at home and abroad since 2011. In 2019, she exhibited her work at Art Up in Lille and in 2022 at ARCOmadrid contemporary art fairs. Since 2021, she is featured on secondaryarchive.org, the online platform for women artists from the Central and Eastern European region. She has been a lecturer at the Department of Fine Arts at Eszterházy Károly Catholic University since 2019. In Hungary she is represented by Molnár Ani Gallery. Lili Boros