Untitled 

Curator: Tiberiy Szilvashi's "Untitled," seems like an exercise in layering and texture. A serene wash of pink dominates the canvas, offset by roughly textured segments along the left side and a vertical stroke to the right. Editor: The first impression is almost… melancholic. The subtle pink, like faded fabric, combined with the heavy impasto, speaks of time and process—a worn surface retaining its secrets. Curator: Observe the contrasting paint application. The central field has delicate drips, like tears, that seem almost at odds with the coarse textures along the edges. It disrupts what could otherwise be an overly harmonious composition. Editor: It definitely disrupts any sense of visual ease! I'm struck by what appears to be a deliberate lack of blending. Look how the acrylic and ink fight on the canvas—a tangible record of the labor and the push and pull of material properties. Is this "matter-painting"? Curator: Yes. Indeed, the application of mixed media such as acrylic and ink leads the viewer to consider the formal arrangement of color and texture but in terms of flatness, pushing the spatial relationships to the surface of the work. Consider the structure, composition, and color and how each lends itself to visual understanding. Editor: I’m particularly drawn to thinking about Szilvashi's studio practice here. How much layering did he go through, scraping back, re-applying? It becomes a landscape of the artist's activity itself, and I wonder what drove these artistic choices. What was Szilvashi consuming at the time? Curator: While such speculations may prove insightful, my engagement comes primarily from its exploration of form, of shape. Editor: In the end, for me, it’s not just about shapes, but how the artist’s hand shapes them through their material interactions. Curator: And I believe it’s the orchestration of visual space—of pictorial balance—that creates the experience here. A dynamic tension indeed.