Anna Eszter Tóth graduated from the Hungarian University of Fine Arts in 2014, majoring in painting, as a student of Zsigmond Károlyi, and then she participated in DLA doctoral studies.  In 2016 she was awarded the Barcsay Prize. Her artistic interests focus on constantly pushing the boundaries of panel painting, blurring the boundaries between figuration and abstraction, and the representation of spatial objects within the plane. Her favourite subjects include everyday objects, banal motifs and, above all, the artistic expression of activities that fall under the concept of invisible work. The piles of colourful textiles in her paintings and sculptures evoke the world of forms typical of abstract art, confronting the randomness of the compositions with the carefully composed patterns and fields of colour. She transforms the variously shaped piles of clothes into non-figurative spatial column compositions, somehow sculpting the constantly recurring, invisible and domestic tasks typically done by women, such as washing, hanging out clothes to dry, ironing and folding. The "close-up" observation, the abstraction of these banal activities is in fact a painting and visual experiment to display the wrinkling of materials, the randomness of forms and the stacking of layers in a variety of ways. The Giants and the Laundry series reflect on the themes and techniques of great periods of art history, marked by predominantly male artists, from a uniquely female perspective. As the artist puts it: "I discover abstract images in non-abstract situations. It's all a game between the plane and the spatial, between painting, sculpture, art and non-art. It's a reaction to the visual language and thinking of contemporary art about blurring boundaries and imprinting the world around us." Viktória Popovics

Anna Eszter Tóth graduated from the Hungarian University of Fine Arts in 2014, majoring in painting, as a student of Zsigmond Károlyi, and then she participated in DLA doctoral studies.  In 2016 she was awarded the Barcsay Prize. Her artistic interests focus on constantly pushing the boundaries of panel painting, blurring the boundaries between figuration and abstraction, and the representation of spatial objects within the plane. Her favourite subjects include everyday objects, banal motifs and, above all, the artistic expression of activities that fall under the concept of invisible work. The piles of colourful textiles in her paintings and sculptures evoke the world of forms typical of abstract art, confronting the randomness of the compositions with the carefully composed patterns and fields of colour. She transforms the variously shaped piles of clothes into non-figurative spatial column compositions, somehow sculpting the constantly recurring, invisible and domestic tasks typically done by women, such as washing, hanging out clothes to dry, ironing and folding. The "close-up" observation, the abstraction of these banal activities is in fact a painting and visual experiment to display the wrinkling of materials, the randomness of forms and the stacking of layers in a variety of ways. The Giants and the Laundry series reflect on the themes and techniques of great periods of art history, marked by predominantly male artists, from a uniquely female perspective. As the artist puts it: "I discover abstract images in non-abstract situations. It's all a game between the plane and the spatial, between painting, sculpture, art and non-art. It's a reaction to the visual language and thinking of contemporary art about blurring boundaries and imprinting the world around us." Viktória Popovics

Anna Eszter Tóth graduated from the Hungarian University of Fine Arts in 2014, majoring in painting, as a student of Zsigmond Károlyi, and then she participated in DLA doctoral studies.  In 2016 she was awarded the Barcsay Prize. Her artistic interests focus on constantly pushing the boundaries of panel painting, blurring the boundaries between figuration and abstraction, and the representation of spatial objects within the plane. Her favourite subjects include everyday objects, banal motifs and, above all, the artistic expression of activities that fall under the concept of invisible work. The piles of colourful textiles in her paintings and sculptures evoke the world of forms typical of abstract art, confronting the randomness of the compositions with the carefully composed patterns and fields of colour. She transforms the variously shaped piles of clothes into non-figurative spatial column compositions, somehow sculpting the constantly recurring, invisible and domestic tasks typically done by women, such as washing, hanging out clothes to dry, ironing and folding. The "close-up" observation, the abstraction of these banal activities is in fact a painting and visual experiment to display the wrinkling of materials, the randomness of forms and the stacking of layers in a variety of ways. The Giants and the Laundry series reflect on the themes and techniques of great periods of art history, marked by predominantly male artists, from a uniquely female perspective. As the artist puts it: "I discover abstract images in non-abstract situations. It's all a game between the plane and the spatial, between painting, sculpture, art and non-art. It's a reaction to the visual language and thinking of contemporary art about blurring boundaries and imprinting the world around us." Viktória Popovics

Anna Eszter Tóth graduated from the Hungarian University of Fine Arts in 2014, majoring in painting, as a student of Zsigmond Károlyi, and then she participated in DLA doctoral studies.  In 2016 she was awarded the Barcsay Prize. Her artistic interests focus on constantly pushing the boundaries of panel painting, blurring the boundaries between figuration and abstraction, and the representation of spatial objects within the plane. Her favourite subjects include everyday objects, banal motifs and, above all, the artistic expression of activities that fall under the concept of invisible work. The piles of colourful textiles in her paintings and sculptures evoke the world of forms typical of abstract art, confronting the randomness of the compositions with the carefully composed patterns and fields of colour. She transforms the variously shaped piles of clothes into non-figurative spatial column compositions, somehow sculpting the constantly recurring, invisible and domestic tasks typically done by women, such as washing, hanging out clothes to dry, ironing and folding. The "close-up" observation, the abstraction of these banal activities is in fact a painting and visual experiment to display the wrinkling of materials, the randomness of forms and the stacking of layers in a variety of ways. The Giants and the Laundry series reflect on the themes and techniques of great periods of art history, marked by predominantly male artists, from a uniquely female perspective. As the artist puts it: "I discover abstract images in non-abstract situations. It's all a game between the plane and the spatial, between painting, sculpture, art and non-art. It's a reaction to the visual language and thinking of contemporary art about blurring boundaries and imprinting the world around us." Viktória Popovics

Anna Eszter Tóth graduated from the Hungarian University of Fine Arts in 2014, majoring in painting, as a student of Zsigmond Károlyi, and then she participated in DLA doctoral studies.  In 2016 she was awarded the Barcsay Prize. Her artistic interests focus on constantly pushing the boundaries of panel painting, blurring the boundaries between figuration and abstraction, and the representation of spatial objects within the plane. Her favourite subjects include everyday objects, banal motifs and, above all, the artistic expression of activities that fall under the concept of invisible work. The piles of colourful textiles in her paintings and sculptures evoke the world of forms typical of abstract art, confronting the randomness of the compositions with the carefully composed patterns and fields of colour. She transforms the variously shaped piles of clothes into non-figurative spatial column compositions, somehow sculpting the constantly recurring, invisible and domestic tasks typically done by women, such as washing, hanging out clothes to dry, ironing and folding. The "close-up" observation, the abstraction of these banal activities is in fact a painting and visual experiment to display the wrinkling of materials, the randomness of forms and the stacking of layers in a variety of ways. The Giants and the Laundry series reflect on the themes and techniques of great periods of art history, marked by predominantly male artists, from a uniquely female perspective. As the artist puts it: "I discover abstract images in non-abstract situations. It's all a game between the plane and the spatial, between painting, sculpture, art and non-art. It's a reaction to the visual language and thinking of contemporary art about blurring boundaries and imprinting the world around us." Viktória Popovics

Anna Eszter Tóth graduated from the Hungarian University of Fine Arts in 2014, majoring in painting, as a student of Zsigmond Károlyi, and then she participated in DLA doctoral studies.  In 2016 she was awarded the Barcsay Prize. Her artistic interests focus on constantly pushing the boundaries of panel painting, blurring the boundaries between figuration and abstraction, and the representation of spatial objects within the plane. Her favourite subjects include everyday objects, banal motifs and, above all, the artistic expression of activities that fall under the concept of invisible work. The piles of colourful textiles in her paintings and sculptures evoke the world of forms typical of abstract art, confronting the randomness of the compositions with the carefully composed patterns and fields of colour. She transforms the variously shaped piles of clothes into non-figurative spatial column compositions, somehow sculpting the constantly recurring, invisible and domestic tasks typically done by women, such as washing, hanging out clothes to dry, ironing and folding. The "close-up" observation, the abstraction of these banal activities is in fact a painting and visual experiment to display the wrinkling of materials, the randomness of forms and the stacking of layers in a variety of ways. The Giants and the Laundry series reflect on the themes and techniques of great periods of art history, marked by predominantly male artists, from a uniquely female perspective. As the artist puts it: "I discover abstract images in non-abstract situations. It's all a game between the plane and the spatial, between painting, sculpture, art and non-art. It's a reaction to the visual language and thinking of contemporary art about blurring boundaries and imprinting the world around us." Viktória Popovics

Anna Eszter Tóth graduated from the Hungarian University of Fine Arts in 2014, majoring in painting, as a student of Zsigmond Károlyi, and then she participated in DLA doctoral studies.  In 2016 she was awarded the Barcsay Prize. Her artistic interests focus on constantly pushing the boundaries of panel painting, blurring the boundaries between figuration and abstraction, and the representation of spatial objects within the plane. Her favourite subjects include everyday objects, banal motifs and, above all, the artistic expression of activities that fall under the concept of invisible work. The piles of colourful textiles in her paintings and sculptures evoke the world of forms typical of abstract art, confronting the randomness of the compositions with the carefully composed patterns and fields of colour. She transforms the variously shaped piles of clothes into non-figurative spatial column compositions, somehow sculpting the constantly recurring, invisible and domestic tasks typically done by women, such as washing, hanging out clothes to dry, ironing and folding. The "close-up" observation, the abstraction of these banal activities is in fact a painting and visual experiment to display the wrinkling of materials, the randomness of forms and the stacking of layers in a variety of ways. The Giants and the Laundry series reflect on the themes and techniques of great periods of art history, marked by predominantly male artists, from a uniquely female perspective. As the artist puts it: "I discover abstract images in non-abstract situations. It's all a game between the plane and the spatial, between painting, sculpture, art and non-art. It's a reaction to the visual language and thinking of contemporary art about blurring boundaries and imprinting the world around us." Viktória Popovics