Exhibition: The exhibition is on view from 08/06/2023, until 30/06/2023, Mondays to Fridays from 10 am to 6 pm., Saturdays 10 am to 1 pm. From 01/07/2023, until 14/07/2023, Mondays to Fridays from 10 am to 6 pm.

Linda Bodolóczki (1981, Eger) graduated from the University of Fine Arts, Budapest in 2011 as a student of Eszter Radák, finishing in the so-called “colour” class. In the years following her graduation, after a couple of group and solo exhibitions, she worked as a television scriptwriter. Since 2017, she has been concentrating on painting again and almost immediately became the centre of attention with her exciting visual world.

The Controllability of Gesture – Gesture and Geometry
Her intuitive, expressive, vibrantly colourful paintings draw from the Hungarian Avant-garde’s colour and form vocabulary. On the other hand, Bodolóczki, now abandoning figuration altogether, is a follower of the Abstract – Expressionist tradition, whose works evolve through lyrical abstraction based purely on colour and facture, through powerful gesture painting. There is a constant play of surface qualities – random, splattered, paint-dripping, loose sections alternating with layers of paint that are carefully constructed, filled in and then painted over with engineering precision. The homogeneous, calm image spaces blend harmoniously with the dynamic, striped or dotted elements, perhaps broken down into geometric shapes. Bodolóczki tries to use the whole range of colours, and likes to put complementary pairs of bright, vibrant colours that complement each other.

Magdolna Hársfalvi

“There’s a constant war going on inside me too”
Having abandoned the subject of landscapes, Bodolóczki’s latest paintings are lettered and numbered. The Russian-Ukrainian war caused some of her paintings turning monochrome. In her latest series, she focused on the two things that interest her most: gesture and geometry. “One is intuitive, the other is predictable. The paint splatters are of course somewhat controllable (the less distance you leave between the canvas and the artist), but they basically leave a random stain. Geometry is precise, edited, unquestionable. The two methods are the two extremes of the painter’s toolbox, just as the layers in my personality are uncontrollable and controllable. Gesture is the embodiment of desires, passions, fears, emotions – feelings in general; geometry is the embodiment of self-reflection, rationalization, and changing attitudes. In fact, there is a constant war going on inside me, but on my pictures I strive for that sort of harmony that painting can create.”