Bence Knyihár graduated from the Faculty of Arts of the University of Pécs in 2011. From 2016, he has been a member and a regular exhibitor of the Artus Contemporary Art Studio. In his art, two creative phases can be distinguished, and although they are based on the same painting process, the brushwork with a distinctly colouristic vision found in 2018 is organised along a completely new compositional principle. Szél (Wind) (2014) and Pinty no. 2 (Finch no. 2) (2015), in their colour treatment and technique, may even evoke a sense of a certain experimental paraphrase in the viewer. While the former is a flurry of gestural painting sequences that allow for a quick, brief contact, the latter may recall the colour abstraction of Gerhard Richter's Karmin and the Vermalung technique. Here, the practice of overpainting and blurring played a more pronounced role, the blending of abstract fields of colour causing them to randomly mix, and the removal of the previous layer of paint with a scraper providing an archaeological exploration of the canvas, resulting in a myriad of haptic layers and surfaces. At the exhibition titled Átfedések (Overlaps), in the summer of 2023, Bence Knyihár presented his latest works created under the aegis of Pittura Analitica, one of the most influential Italian painting movements of the 1960s, which was brought back into the discourse of the present by Alberto Fiz. This analytical approach seeks to explore the constituent elements of painting (canvas, frame, material, colour and sign) and their interrelationship, as well as the metabolic contact (as in the flow of information) between the work as a physical object and its creator, providing an experience of pure, absolute existence. The series titled Orchids 1-4. (2022) brings to the stage an equal juxtaposition of complementary scenes and the positive-negative forms of the eponymous orchid flower, while the artist also gives it a sense of movement by sliding the canvas up to a stretcher slightly shifted. At the same time, Knyihár also plays the nomenclature of the flower into the imagery: it is an aphrodisiac according to ancient beliefs. It symbolizes noble beauty and preciousness in general, while coupled with the colour blue, it denotes absolute rarity, the coveted essence of Pittura-Pittura (painting-picture). Annamária Szabó

Bence Knyihár graduated from the Faculty of Arts of the University of Pécs in 2011. From 2016, he has been a member and a regular exhibitor of the Artus Contemporary Art Studio. In his art, two creative phases can be distinguished, and although they are based on the same painting process, the brushwork with a distinctly colouristic vision found in 2018 is organised along a completely new compositional principle. Szél (Wind) (2014) and Pinty no. 2 (Finch no. 2) (2015), in their colour treatment and technique, may even evoke a sense of a certain experimental paraphrase in the viewer. While the former is a flurry of gestural painting sequences that allow for a quick, brief contact, the latter may recall the colour abstraction of Gerhard Richter's Karmin and the Vermalung technique. Here, the practice of overpainting and blurring played a more pronounced role, the blending of abstract fields of colour causing them to randomly mix, and the removal of the previous layer of paint with a scraper providing an archaeological exploration of the canvas, resulting in a myriad of haptic layers and surfaces. At the exhibition titled Átfedések (Overlaps), in the summer of 2023, Bence Knyihár presented his latest works created under the aegis of Pittura Analitica, one of the most influential Italian painting movements of the 1960s, which was brought back into the discourse of the present by Alberto Fiz. This analytical approach seeks to explore the constituent elements of painting (canvas, frame, material, colour and sign) and their interrelationship, as well as the metabolic contact (as in the flow of information) between the work as a physical object and its creator, providing an experience of pure, absolute existence. The series titled Orchids 1-4. (2022) brings to the stage an equal juxtaposition of complementary scenes and the positive-negative forms of the eponymous orchid flower, while the artist also gives it a sense of movement by sliding the canvas up to a stretcher slightly shifted. At the same time, Knyihár also plays the nomenclature of the flower into the imagery: it is an aphrodisiac according to ancient beliefs. It symbolizes noble beauty and preciousness in general, while coupled with the colour blue, it denotes absolute rarity, the coveted essence of Pittura-Pittura (painting-picture). Annamária Szabó

Bence Knyihár graduated from the Faculty of Arts of the University of Pécs in 2011. From 2016, he has been a member and a regular exhibitor of the Artus Contemporary Art Studio. In his art, two creative phases can be distinguished, and although they are based on the same painting process, the brushwork with a distinctly colouristic vision found in 2018 is organised along a completely new compositional principle. Szél (Wind) (2014) and Pinty no. 2 (Finch no. 2) (2015), in their colour treatment and technique, may even evoke a sense of a certain experimental paraphrase in the viewer. While the former is a flurry of gestural painting sequences that allow for a quick, brief contact, the latter may recall the colour abstraction of Gerhard Richter's Karmin and the Vermalung technique. Here, the practice of overpainting and blurring played a more pronounced role, the blending of abstract fields of colour causing them to randomly mix, and the removal of the previous layer of paint with a scraper providing an archaeological exploration of the canvas, resulting in a myriad of haptic layers and surfaces. At the exhibition titled Átfedések (Overlaps), in the summer of 2023, Bence Knyihár presented his latest works created under the aegis of Pittura Analitica, one of the most influential Italian painting movements of the 1960s, which was brought back into the discourse of the present by Alberto Fiz. This analytical approach seeks to explore the constituent elements of painting (canvas, frame, material, colour and sign) and their interrelationship, as well as the metabolic contact (as in the flow of information) between the work as a physical object and its creator, providing an experience of pure, absolute existence. The series titled Orchids 1-4. (2022) brings to the stage an equal juxtaposition of complementary scenes and the positive-negative forms of the eponymous orchid flower, while the artist also gives it a sense of movement by sliding the canvas up to a stretcher slightly shifted. At the same time, Knyihár also plays the nomenclature of the flower into the imagery: it is an aphrodisiac according to ancient beliefs. It symbolizes noble beauty and preciousness in general, while coupled with the colour blue, it denotes absolute rarity, the coveted essence of Pittura-Pittura (painting-picture). Annamária Szabó

Bence Knyihár graduated from the Faculty of Arts of the University of Pécs in 2011. From 2016, he has been a member and a regular exhibitor of the Artus Contemporary Art Studio. In his art, two creative phases can be distinguished, and although they are based on the same painting process, the brushwork with a distinctly colouristic vision found in 2018 is organised along a completely new compositional principle. Szél (Wind) (2014) and Pinty no. 2 (Finch no. 2) (2015), in their colour treatment and technique, may even evoke a sense of a certain experimental paraphrase in the viewer. While the former is a flurry of gestural painting sequences that allow for a quick, brief contact, the latter may recall the colour abstraction of Gerhard Richter's Karmin and the Vermalung technique. Here, the practice of overpainting and blurring played a more pronounced role, the blending of abstract fields of colour causing them to randomly mix, and the removal of the previous layer of paint with a scraper providing an archaeological exploration of the canvas, resulting in a myriad of haptic layers and surfaces. At the exhibition titled Átfedések (Overlaps), in the summer of 2023, Bence Knyihár presented his latest works created under the aegis of Pittura Analitica, one of the most influential Italian painting movements of the 1960s, which was brought back into the discourse of the present by Alberto Fiz. This analytical approach seeks to explore the constituent elements of painting (canvas, frame, material, colour and sign) and their interrelationship, as well as the metabolic contact (as in the flow of information) between the work as a physical object and its creator, providing an experience of pure, absolute existence. The series titled Orchids 1-4. (2022) brings to the stage an equal juxtaposition of complementary scenes and the positive-negative forms of the eponymous orchid flower, while the artist also gives it a sense of movement by sliding the canvas up to a stretcher slightly shifted. At the same time, Knyihár also plays the nomenclature of the flower into the imagery: it is an aphrodisiac according to ancient beliefs. It symbolizes noble beauty and preciousness in general, while coupled with the colour blue, it denotes absolute rarity, the coveted essence of Pittura-Pittura (painting-picture). Annamária Szabó

Bence Knyihár graduated from the Faculty of Arts of the University of Pécs in 2011. From 2016, he has been a member and a regular exhibitor of the Artus Contemporary Art Studio. In his art, two creative phases can be distinguished, and although they are based on the same painting process, the brushwork with a distinctly colouristic vision found in 2018 is organised along a completely new compositional principle. Szél (Wind) (2014) and Pinty no. 2 (Finch no. 2) (2015), in their colour treatment and technique, may even evoke a sense of a certain experimental paraphrase in the viewer. While the former is a flurry of gestural painting sequences that allow for a quick, brief contact, the latter may recall the colour abstraction of Gerhard Richter's Karmin and the Vermalung technique. Here, the practice of overpainting and blurring played a more pronounced role, the blending of abstract fields of colour causing them to randomly mix, and the removal of the previous layer of paint with a scraper providing an archaeological exploration of the canvas, resulting in a myriad of haptic layers and surfaces. At the exhibition titled Átfedések (Overlaps), in the summer of 2023, Bence Knyihár presented his latest works created under the aegis of Pittura Analitica, one of the most influential Italian painting movements of the 1960s, which was brought back into the discourse of the present by Alberto Fiz. This analytical approach seeks to explore the constituent elements of painting (canvas, frame, material, colour and sign) and their interrelationship, as well as the metabolic contact (as in the flow of information) between the work as a physical object and its creator, providing an experience of pure, absolute existence. The series titled Orchids 1-4. (2022) brings to the stage an equal juxtaposition of complementary scenes and the positive-negative forms of the eponymous orchid flower, while the artist also gives it a sense of movement by sliding the canvas up to a stretcher slightly shifted. At the same time, Knyihár also plays the nomenclature of the flower into the imagery: it is an aphrodisiac according to ancient beliefs. It symbolizes noble beauty and preciousness in general, while coupled with the colour blue, it denotes absolute rarity, the coveted essence of Pittura-Pittura (painting-picture). Annamária Szabó