István Felsmann graduated in 2013 from the Hungarian University of Fine Arts, Faculty of Graphic Design, where he has been a DLA student since 2022. He has been awarded the Gyula Derkovits Prize three times – in 2014, 2015 and in 2019 – and was nominated for the Esterházy Art Prize in 2019. Since 2009, his interdisciplinary art practice has included his trademark Lego building block works, a hybrid synthesis of relief and tableau painting. With a network approach, he deconstructs and reconstructs the abstract and realistic layers of information of reality in his image objects (Tram 51, 2013), but most of his works dissolve art historical traditions with a playfully balancing use of combinatorics. He also breaks down constructivism (Big Red Icon, 2020, White Constructivist, 2014) into its elements within the prequels, to then transform it into deconstructivism in a liberated act of childlike discovery and melting-pot-like creation. In this way, he simultaneously shows the shapes of geometric abstraction and the revolutionary achievements of the computing technology that defined Generation Y. His image objects are thus bitmaps represented by analogue raster and digital pixel graphics, each pixel of which is uniquely defined so that the image file can carry its corrupted data’s fragments and as much information or as possible. In fact, his Tennis and Court series, created in 2020, shows the new direction in which István Felsmann has turned towards the theory of supersymmetry with extended dimensions, i.e. experimenting with the possibility of representing extra dimensions and transforming symmetry. In February 2023, at the Deák Erika Gallery, in collaboration with Andrea Tivadar, at their joint exhibition titled PLAYFUL, a further reflection of these two visual and theoretical antecedents was presented. Annamária Szabó

István Felsmann graduated in 2013 from the Hungarian University of Fine Arts, Faculty of Graphic Design, where he has been a DLA student since 2022. He has been awarded the Gyula Derkovits Prize three times – in 2014, 2015 and in 2019 – and was nominated for the Esterházy Art Prize in 2019. Since 2009, his interdisciplinary art practice has included his trademark Lego building block works, a hybrid synthesis of relief and tableau painting. With a network approach, he deconstructs and reconstructs the abstract and realistic layers of information of reality in his image objects (Tram 51, 2013), but most of his works dissolve art historical traditions with a playfully balancing use of combinatorics. He also breaks down constructivism (Big Red Icon, 2020, White Constructivist, 2014) into its elements within the prequels, to then transform it into deconstructivism in a liberated act of childlike discovery and melting-pot-like creation. In this way, he simultaneously shows the shapes of geometric abstraction and the revolutionary achievements of the computing technology that defined Generation Y. His image objects are thus bitmaps represented by analogue raster and digital pixel graphics, each pixel of which is uniquely defined so that the image file can carry its corrupted data’s fragments and as much information or as possible. In fact, his Tennis and Court series, created in 2020, shows the new direction in which István Felsmann has turned towards the theory of supersymmetry with extended dimensions, i.e. experimenting with the possibility of representing extra dimensions and transforming symmetry. In February 2023, at the Deák Erika Gallery, in collaboration with Andrea Tivadar, at their joint exhibition titled PLAYFUL, a further reflection of these two visual and theoretical antecedents was presented. Annamária Szabó