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.
王巨猛： 您的作品色彩饱和度很高，尤其是红色和蓝色调。这是个人偏好还是象征意义？ 阿提拉·孔纽： 在我的创作中，专注始终是首要因素——与地球和宇宙中的元素能量连接。 蓝色代表空气和水：海洋、河流，以及生命中蕴含的浩瀚女性力量。 红色代表男性活力——那种积极向上的能量，没有它，生命就无法存在。 王巨猛： 您的绘画反映了您的视觉体验和旅行经历吗？ 阿提拉·孔纽： 一直如此。我深深地被大自然的力量所感动——大海，阳光照射在植物上的效果。 但在每次创作之前，我都会先进行内心冥想，专注于所有这些反映自然和谐的体验。 绘画就是从这里开始的。 王巨猛： 您觉得您的技巧独特吗？ Attila Konnyu： 是的——我相信每位艺术家都必须找到能够体现自身个性的技法。 只有这样，你才能真正地表达你的立场。 这是一个漫长的过程，但却意义非凡，因为最终，艺术家会在作品中遇见真正的自我。 我很感激自己已经达到了这个境界。 王巨猛： 你如何看待当代艺术中的现代潮流？ Attila Konnyu： 时尚潮流永远存在，尤其是在互联网媒体的世界里。 但我相信真正的艺术并非潮流，而是创造原创性的东西，能够对人们产生根本性的影响。 我努力坚持这一点——原创性而非流行性。 王巨猛： 从哲学角度来看，你如何在作品中体现更深层次的思想？ Attila Konnyu： 在冥想状态下，我让潜意识引导我。 我的雕塑和绘画源于一种韵律——无形逐渐成形。 材料仿佛跨越了人类的界限。这个过程不仅是物理的，更是情感和精神的。 单靠绘画无法完全表达，但当雕塑与绘画相遇时，便为观者打开了一扇新的大门。 这就是我的目标：超越视觉，进入深刻的感受。
Attila Konnyu 的创作实践在东方哲学探究与姿态抽象的交汇中展开，持续地思考着存在、无常以及可见世界背后那些静默的结构。 他的方法植根于道家艺术传统，反映了对存在本质和不可见之物的更深层次的探究。 艺术家秉持着以过程为导向的方法论，将直觉置于意图之上，从而抵制传统的表现模式。 相反，他的画作如同静默的启示，通过克制、重复以及对生成时刻的敬畏而得以物化。 这种感知力深深植根于艺术家的个人经历。艺术家在匈牙利乡村的成长岁月，培养了他对自然世界的早期深刻理解。 见证小牛诞生，或站在低垂的彩虹下盛开的罂粟花丛中，这些经历不仅仅是被铭记，更是构成毕生追求不可言喻之境的隐喻。 这些感官、情感和精神的邂逅，持续影响着作品的精神内核和材料语言。 阿提拉·康纽 (Attila Konnyu) 汲取道家思想，将绘画视为一种臣服而非强求的实践。这种与道家艺术的契合构成了他大部分视觉哲学的基础。 每一幅作品的主导并非预设的概念，而是现场感：对笔触、呼吸和形态展开的专注。 颜料如同水一般，通过吸收和流动找到自身的路径，体现了道家“力量不在于力量，而在于顺应”的原则。 由此，作品达到了一种静谧的复杂性，在自发性与自律性、空灵与充实之间取得平衡。 阿提拉·科纽的画作并非刻意捕捉或阐释，而是引人沉思。 它们不要求解读，而是为感知创造空间。 作品呈现的并非奇观，而是一种静默——一种让观者体验更深层韵律的氛围，一种超越语言，在转瞬即逝和悬而未决中探寻美的氛围。 在这个日益被喧嚣和即时性所定义的时代，阿提拉·科纽的作品提供了一种深刻的对比：缓慢而刻意地回归静止，将其作为意义的场域。
Critical Dossier
A curated selection of full essays and critical texts.
Critical Texts
Wang Yiumeng
Chief Curator and Museum Director, Yuelai Art Museum (2023)
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.
Laszlo Erdesz
Co-Curator (year to be specified in final version)
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.
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.
Artist in Conversation
Interview (year to be specified in final version)
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.
On Structure and Perception
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.