Tibor Gáyor finished his architectural studies in 1951 and worked in the field until the beginning of the 1960s. This background defines his way of thinking concerning artistic expression: mathematical rules, concepts about space and seriality characterize his two-dimensional works. From 1963, he dedicated his life to fine arts, elaborating his specific methodology at the beginning of the 1970s. He began experiments by folding paper and canvas in a precalculated way thus visualising tectonic models, a special term for describing architectural structures. His oeuvre refers to Minimalism as well: his ambition to rely on minimal devices brought purity and a conceptual approach to his works. The folding of the canvas, revealing the white grounded surface and its raw backside on a black base, or the prints of folded papers with limited colour shows a controlled approach to artistic expression. The simultaneous use of the front and back sides of the same surface brings with it the question of space and the third dimension in the case of Gáyor’s work. The viewer when trying to reverse engineer this method realizes that the result is not a montage, but a fully-developed process, showcasing different solutions on how to present the complexity of space itself by displaying the different aspects of a surface and its backside. Gáyor has followed consequently his programme during his carrier, approaching the same visual problems from various angles. Acknowledged for his consistency, his works are part of important public and private collections, like the Ludwig Museum in Budapest, the Hungarian National Gallery, Budapest, Folkwang Museum, Essen, Kunstmuseum, Bochum and the Museum Moderne Kunst, Vienna. Zsolt Petrányi

Tibor Gáyor finished his architectural studies in 1951 and worked in the field until the beginning of the 1960s. This background defines his way of thinking concerning artistic expression: mathematical rules, concepts about space and seriality characterize his two-dimensional works. From 1963, he dedicated his life to fine arts, elaborating his specific methodology at the beginning of the 1970s. He began experiments by folding paper and canvas in a precalculated way thus visualising tectonic models, a special term for describing architectural structures. His oeuvre refers to Minimalism as well: his ambition to rely on minimal devices brought purity and a conceptual approach to his works. The folding of the canvas, revealing the white grounded surface and its raw backside on a black base, or the prints of folded papers with limited colour shows a controlled approach to artistic expression. The simultaneous use of the front and back sides of the same surface brings with it the question of space and the third dimension in the case of Gáyor’s work. The viewer when trying to reverse engineer this method realizes that the result is not a montage, but a fully-developed process, showcasing different solutions on how to present the complexity of space itself by displaying the different aspects of a surface and its backside. Gáyor has followed consequently his programme during his carrier, approaching the same visual problems from various angles. Acknowledged for his consistency, his works are part of important public and private collections, like the Ludwig Museum in Budapest, the Hungarian National Gallery, Budapest, Folkwang Museum, Essen, Kunstmuseum, Bochum and the Museum Moderne Kunst, Vienna. Zsolt Petrányi