The Slovenian-born artist studied painting in Ljubjana and Dublin. In Katja Pál's case, painting has great emphasis because her tableau paintings, which can be classified as hard-edge abstraction, may suggest a degree in graphic design or architecture, but Katja Pál constantly pushes the boundaries of painting through these two disciplines, yet she remains a classical and faithful painter. The artist has participated in several residency programs in Singapore, Slovenia and Italy, and currently lives and works in Hungary. Katja Pál's paintings are centered around the creation of a "significant form", as defined by the English art critic Clive Bell. The artist searches for pure forms that may be found beyond personal taste and feelings, in the dimension of aesthetics. The works speak the language of total geometric abstraction, are created with graphic design software and tilt out into three-dimensional space by the use of minimalist means such as monochrome color or white lines. The artist abandons the classic square or rectangular pictures and works on wooden panels of different shapes. The geometry of the form of the paintings is in dialogue with the directions of the painted surface. It is this unbalance that resembles the work of similar minimalist predecessors such as Donald Judd, Carl André, or Sol Lewitt, for whom the illusory effect of geometric abstraction was the carrier for a total universal experience of space. With the omission of figures, angles and directions had already shown their clear-cut strength in early 20th century Cubism, Futurism, but most of all in Russian Constructivism, while the Minimalism of the 1960s left no more questions about the aesthetic relevance and strength of abstract geometry. Katja Pál carries this mission forward in her works, with subdued forms, spaces and stripes that transcend emotions, thoughts and identifications. They open the door to a dimension of pure aesthetic experience, to a place that Immanuel Kant already admired as a world beyond the realm of the subject created by the human mind. Délia Vékony

The Slovenian-born artist studied painting in Ljubjana and Dublin. In Katja Pál's case, painting has great emphasis because her tableau paintings, which can be classified as hard-edge abstraction, may suggest a degree in graphic design or architecture, but Katja Pál constantly pushes the boundaries of painting through these two disciplines, yet she remains a classical and faithful painter. The artist has participated in several residency programs in Singapore, Slovenia and Italy, and currently lives and works in Hungary. Katja Pál's paintings are centered around the creation of a "significant form", as defined by the English art critic Clive Bell. The artist searches for pure forms that may be found beyond personal taste and feelings, in the dimension of aesthetics. The works speak the language of total geometric abstraction, are created with graphic design software and tilt out into three-dimensional space by the use of minimalist means such as monochrome color or white lines. The artist abandons the classic square or rectangular pictures and works on wooden panels of different shapes. The geometry of the form of the paintings is in dialogue with the directions of the painted surface. It is this unbalance that resembles the work of similar minimalist predecessors such as Donald Judd, Carl André, or Sol Lewitt, for whom the illusory effect of geometric abstraction was the carrier for a total universal experience of space. With the omission of figures, angles and directions had already shown their clear-cut strength in early 20th century Cubism, Futurism, but most of all in Russian Constructivism, while the Minimalism of the 1960s left no more questions about the aesthetic relevance and strength of abstract geometry. Katja Pál carries this mission forward in her works, with subdued forms, spaces and stripes that transcend emotions, thoughts and identifications. They open the door to a dimension of pure aesthetic experience, to a place that Immanuel Kant already admired as a world beyond the realm of the subject created by the human mind. Délia Vékony

The Slovenian-born artist studied painting in Ljubjana and Dublin. In Katja Pál's case, painting has great emphasis because her tableau paintings, which can be classified as hard-edge abstraction, may suggest a degree in graphic design or architecture, but Katja Pál constantly pushes the boundaries of painting through these two disciplines, yet she remains a classical and faithful painter. The artist has participated in several residency programs in Singapore, Slovenia and Italy, and currently lives and works in Hungary. Katja Pál's paintings are centered around the creation of a "significant form", as defined by the English art critic Clive Bell. The artist searches for pure forms that may be found beyond personal taste and feelings, in the dimension of aesthetics. The works speak the language of total geometric abstraction, are created with graphic design software and tilt out into three-dimensional space by the use of minimalist means such as monochrome color or white lines. The artist abandons the classic square or rectangular pictures and works on wooden panels of different shapes. The geometry of the form of the paintings is in dialogue with the directions of the painted surface. It is this unbalance that resembles the work of similar minimalist predecessors such as Donald Judd, Carl André, or Sol Lewitt, for whom the illusory effect of geometric abstraction was the carrier for a total universal experience of space. With the omission of figures, angles and directions had already shown their clear-cut strength in early 20th century Cubism, Futurism, but most of all in Russian Constructivism, while the Minimalism of the 1960s left no more questions about the aesthetic relevance and strength of abstract geometry. Katja Pál carries this mission forward in her works, with subdued forms, spaces and stripes that transcend emotions, thoughts and identifications. They open the door to a dimension of pure aesthetic experience, to a place that Immanuel Kant already admired as a world beyond the realm of the subject created by the human mind. Délia Vékony