Main menu

Original article >>>

Budapest-based artist Márta Kucsora has been exhibiting her paintings throughout Europe and overseas since 2006.  At that time, she started to develop a unique, abstract imagery of (flow) painting which she depicts on canvases of significant size. Over the years, Marta has refined her own artistic vocabulary which emerged through her artworks.

Provoking traditional conventions of the profession, Kucsora renounced her brush to experiment with alternative techniques that became her personal artistic signature. We can objectively state that she is merging figuration and abstraction together. This unification entails a special focus on the technical part. Before all else, Kucsora decides on a subject matter and then, explores every aspect of it, from the technique to the materials she will involve in the creation process. Yet, her subject matters, inspired by nature’s components, are persistently reiterated into numerous variations of the same theme, just as though the artist sought a logical development where the technique has to emerge through careful study. In Marta’s words: “Nature is accidentally free and fluctuating, I want to freeze those moments on my canvas”. Consequently, she sprinkles, splatters, then moves the canvas around to guide the paint drips: it becomes challenging to distinguish Kucsora’s artistic style as she draws her inspiration from figurative components and turn them into abstract elements. Indeed, the technique reflects all aspect of an alert control over the composition that Kucsora takes with a mischievous pleasure. One might wonder whether through this repetition Kucsora searches complete absorption in the creation process or if she obstinately examines herself using art as a personal analysis.

Water was for long investigated. The Water series depicts water and its rhythm with a startling vitality which grows into a composition reminiscent of the Endangered Waters piece of Olafur Eliasson. Conversely, her series “Trans Silvanius” shows trees’ trunks following their cadence: the flow gives this feeling of emotional moves that take over the content in an excessive way. Once, Freud said in Totem and Taboo, “Nature delights in making use of the same forms in the most various biological connections: as it does, for instance, in the appearance of branch-like structures both in coral and in plants”. Undeniably, Kucsora persistently attempts to translate her emotions into a musical language: her artworks turn into a composition of natural elements fragmentally seized yet set free into an undistinguished setting.

Recently, Kucsora switched her techniques as well as her subject matter with her new series. The “Plantagram” series is reminiscent of photograms  or rayograms used in early 20th century. Numerous artists such as Man Ray or László Moholy-Nagy, have experimented with this method. Influenced by the latter, Kucsora experiments with new and distinctive techniques. Constantly changing her artistic practices, the artist statement becomes undefined, if indeed there is one. So we ask, what does the artist try to demonstrate by doing so?  The artist seems to be using forms of plants as substances that re-emerge within the canvas: as if another lifecycle was produced; however, this life form has no physical place in the real world even if it comes, indubitably, from it.

Consequently, Kucsora’s unique style makes her practically incomparable to any other artists. Nevertheless, her earlier series is somewhat reminiscent of Herbert Brandl: both question the conventions of traditional landscape paintings.  Moreover, “Plantagram” can be fairly evocative of traditional Japanese woodblock floral prints.

Text written by: Julie Diebold