The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler

The painter Bea Kusovszky lives and works in Budapest. She holds a diploma in painting from the Hungarian University of Fine Arts and studied painting and animation at the Universitat de València. She has participated in many solo and group shows and is currently represented by VILTIN Gallery in Hungary. In her artistic practice, Bea Kusovszky has been invested in analysing the pictorial qualities and optical parameters of various epochs of art history. This interest has led her from a strong figural focus towards the deconstruction and reorganising of multiple histories of abstraction, all the while upholding a technical perfectionism and dedication towards questioning the ontology of the image. Kusovszky, through paintings organised into concise series, has been investigating various visual phenomena on the border of art, science and popular imagery: in some cases, she references the Newtonian colour spectrum and the aesthetic of colourful greys. In other instances, she recontextualises the iconic Ben-Day dot in an Op-art setting, deploying elaborate framing structures that reimagine the surface as a digital screen or a switchboard. This results in nostalgic, technoutopian visions that direct the viewers' attention to the core of the painting's identity. Her work is also influenced by the findings of important predecessors such as Roy Lichtenstein, Bridget Riley, or from the Hungarian art scene painters such as Tamás Hencze, István Nádler or József Bullás. Her referential, relationist thinking opens up various interpretations ranging from Walter Benjamin's notion of the image's "aura" to the intertextual meta-structures of postmodernism. As a member of the young generation, she is also influenced by contemporary experiences of digital visuality. However, through her work, Kusovszky distils these impressions into complex, mechanical and handcrafted visual systems that reveal the fundamental units of painting: the material, the support and the image as object. Patrick Tayler