Attila Konnyu
Curatorial Essay
Attila Konnyu approaches abstraction as a disciplined investigation of structure, space, and perception. Rather than using abstraction as a stylistic gesture, he constructs visual systems in which form, rhythm, and tension are carefully balanced.
His paintings and spatial works do not depict external narratives. Instead, they focus on how we see and experience space. Composition unfolds through measured relationships between color, surface, and scale, creating environments in which stability and instability coexist.
Konnyu’s work is informed by philosophical traditions that understand space as active rather than empty. This influence appears not as illustration, but as restraint and precision. Emptiness functions as structure. Interval becomes tension. Color operates as force rather than decoration.
Large scale works intensify this experience. They do not seek spectacle, but immersion, inviting the viewer to become aware of their own physical presence in relation to the work.
Konnyu’s abstraction is not about transcendence, but about attention. It proposes a concentrated encounter in which perception itself becomes visible.
Critical Dossier
A curated selection of full essays and critical texts.
Critical Texts
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Wang Yiumeng
Chief Curator and Museum Director, Yuelai Art Museum (2023)
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Wang Yiumeng situates Attila Konnyu’s practice within a meditative and spatial philosophical framework.
In her reading, the works operate not merely as abstract compositions but as perceptual environments in which rhythm, interval, and chromatic intensity generate concentrated states of attention.
The structural discipline of the paintings rests on a calibrated balance between density and openness, while philosophical traditions that conceive space as active presence rather than absence become visible at a compositional level.
The works do not illustrate philosophical ideas; they materialize them, embodying contemplative structure through immersive visual experience.
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Laszlo Erdesz
Co-Curator (year to be specified in final version)
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Laszlo Erdesz approaches Konnyu’s work through the lens of structural abstraction and visual tension.
He emphasizes that color functions not as ornament but as organizing force, generating compositional equilibrium and dynamic pressure.
The works resist narrative interpretation and instead direct attention toward the relational dynamics of form and space.
In Erdész’s analysis, Konnyu’s practice is grounded in a deliberate balance between control and intensity, situating his work within a contemporary discourse on abstraction that privileges structure over gesture.
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Gabor Pataki
Art Historian, Institute of Art History, Hungarian Academy of Sciences (2010)
Gabor Pataki interprets the works within historical and existential dimensions.
He describes the paintings as living moments in which layers of past and present converge.
Rather than engaging in mechanical reinterpretation of tradition, the works inhabit a dynamic field between inheritance and transformation.
They do not narrate events; they generate presence.
Abstraction becomes lived experience, where color and gesture establish a dialogue between image and viewer, and context emerges as affective and reflective space.
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Artist in Conversation
Interview (year to be specified in final version)
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In conversation, Konnyu articulates his practice as a sustained investigation of perception and spatial awareness.
Abstraction is not presented as stylistic preference but as method, through which structured visual order is constructed.
The process centers on discipline, interval, and compositional clarity.
The works become environments in which viewers confront their own embodied presence within space.
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On Structure and Perception
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This text examines the relationship between structural thinking and perceptual discipline within Attila
Konnyu's practice. Abstraction appears not as theoretical construct, but as a conscious negotiation between order and tension.
The interplay of color, form, and scale operates as a calibrated system that intensifies attention. Seeing is transformed from passive reception into an active spatial experience, in which perception becomes aware of its own construction.