• “Art is not object, but experience.”
    – Josef Albers

    More than 60 years after MoMA’s historic exhibition The Responsive Eye questioning how the eye responds to experiences with foundational elements of art such as color, pattern and light in time and space, Danysz gallery shows the new generation. Today the gallery gathers 3 artists – Zsuzsanna Korodi, Sébastien Preschoux & Tomislav Topic – to show how the renewal of geometric abstraction is present in this new generation. Coming from Berlin, Budapest, and Paris, it made sense to bring together these three artists from different horizons. For whether it is between two or three dimensions, these modern descendants of trompe l'oeil, perspective and anamorphosis all master in their own way space and colors, to give the visitor a high level experience.


     

  • ZSUZSANNA KORODI

    Zsuzsanna Korodi, NPF01, 2023

    ZSUZSANNA KORODI

    Hungarian artist based in Budapest, Zsuzsanna Korodi is known for her works made with a material rarely highlighted: glass. Between kinetic and constructed inspiration, the artist handles with virtuosity 2D or 3D to imagine works playing on optical illusions. Exploiting the properties of glass to create magnifying effects coupled with carefully studied superimpositions of colors, she creates a real visual vertigo. Resolutely aesthetic, her works are the result of a physical experience that questions our perception of reality: as the viewer moves in front of the transparent surfaces, hidden colors appear behind the glass prism, escaping as soon as they appear, creating an illusion of movement that leaves the viewer wondering and amazed. The brain must then constantly reinterpret what the eye sees.
     
    The theme of the screen is recurrent in the work of Zsuzsanna Korodi. She revisits this everyday object by striving to transmit a new type of spatial experience, based on movement, color and light. "Virtual environment has a strong impact on my art. Influencing people to feel their presence in reality with the language of virtuality is what I try to achieve," explains Korodi. Different series of research will sometimes focus on the effects of moiré, on color, or on a play of forms, but the artist's deepest intention is to explore the different optical phenomena generated by glass. Her works thus stage the interplay between a static work and a "responsive eye".
     
    Zsuzsanna Korodi was born in 1984 in Budapest She graduated (MA) at the Moholy-Nagy University of Art and Design, Budapest, and recently working on her Dla degree (Doctor of Liberal Arts) in Fine Art at the University of Pécs'. Her work has been exhibited in many European galleries.

  • "My screens are windows, but the spectacle is your decision." - Zsuzsanna Korodi

    • Zsuzsanna Korodi Breeze, 2022 polished, glued optical glass, uv paint 36 x 80 cm 14 1/8 x 31 1/2 in
      Zsuzsanna Korodi
      Breeze, 2022
      polished, glued optical glass, uv paint
      36 x 80 cm
      14 1/8 x 31 1/2 in
      Enquire
    • Zsuzsanna Korodi NPF01, 2023 polished, laminated optical glass, uv paint, enamel 40 x 40 cm 19 3/4 x 19 3/4 in
      Zsuzsanna Korodi
      NPF01, 2023
      polished, laminated optical glass, uv paint, enamel
      40 x 40 cm
      19 3/4 x 19 3/4 in
      Enquire
    • Zsuzsanna Korodi NPF02, 2023 polished, laminated optical glass, uv paint, enamel 80 x 80 cm 31 1/2 x 31 1/2 in
      Zsuzsanna Korodi
      NPF02, 2023
      polished, laminated optical glass, uv paint, enamel
      80 x 80 cm
      31 1/2 x 31 1/2 in
      Enquire
    • Zsuzsanna Korodi Carnival games, 2022 polished, glued optical glass, uv paint 28 x 60 cm 11 x 23 5/8 in
      Zsuzsanna Korodi
      Carnival games, 2022
      polished, glued optical glass, uv paint
      28 x 60 cm
      11 x 23 5/8 in
      Enquire
    • Zsuzsanna Korodi NPF04, 2023 polished, laminated optical glass, uv paint, enamel 80 x 80 cm 31 1/2 x 31 1/2 in
      Zsuzsanna Korodi
      NPF04, 2023
      polished, laminated optical glass, uv paint, enamel
      80 x 80 cm
      31 1/2 x 31 1/2 in
      Enquire
    • Zsuzsanna Korodi Subpixel VI, 2022 polished, glued optical glass, uv paint 36 x 100 cm 14 1/8 x 39 3/8 in
      Zsuzsanna Korodi
      Subpixel VI, 2022
      polished, glued optical glass, uv paint
      36 x 100 cm
      14 1/8 x 39 3/8 in
      Enquire
    • Zsuzsanna Korodi Digital horizon, 2022 polished, glued optical glass, uv paint 36 x 80 cm 14 1/8 x 31 1/2 in
      Zsuzsanna Korodi
      Digital horizon, 2022
      polished, glued optical glass, uv paint
      36 x 80 cm
      14 1/8 x 31 1/2 in
      Enquire
    • Zsuzsanna Korodi NPF06, 2023 polished, laminated optical glass, uv paint 50 x 50 cm 19 3/4 x 19 3/4 in
      Zsuzsanna Korodi
      NPF06, 2023
      polished, laminated optical glass, uv paint
      50 x 50 cm
      19 3/4 x 19 3/4 in
      Enquire
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  • "To watch Sébastien Preschoux work is to accept to oscillate between the serenity of a work allowing itself to be built without haste and the tension of an infinitely precise gesture, gracefully measured, drastically governed by a process of measurement and counting. The work stretches out in time, punctuated by the repeated gesture of handling the ruler and then the compass. Without impatience, Sébastien Preschoux unrolls the movement of the drawing in time, lets the material unfold in space."

    – Valérie Nam

  • Sébastien Preschoux
    Sébastien Preschoux, Ceres, 2023

    Sébastien Preschoux

    Sébastien Preschoux's work takes many forms and is the result of a well-honed mental programming that allows him to generate colorful works made of alternating solids and voids. Deeply influenced by optical art, but also by the values of the Bauhaus teaching which advocates an instruction based on the fundamental value of manual work, Sébastien Preschoux creates works whose rigor could evoke that generated by a machine. Yet his creations are devoid of any technological intervention.
     
    For his two-dimensional works, whether painting or drawing, Sébastien Preschoux anchors himself in questions related to space, light and movement. His compositions, which make our perception unstable, give a vibratory effect. All in rigor and serenity his creative process is drastically governed by a counting process, punctuated by the repeated gesture of handling the ruler and the compass. His three-dimensional wire sculptures allow at the same time to materialize forms, structures, built in a rigorous and mathematical way while they seem to dissolve in the space, to be integrated there at the point of dematerialization.
     
    Stretched between floors, walls and ceilings, the wires trace lines which, juxtaposed to each other, draw immaterial geometrical forms. The work is no longer external to the spectator, it structures the very space within which he circulates, modifying the perception he has of the space that surrounds him as he wanders. Because the wire allows what the sculpture does not allow: to penetrate inside the composition itself, multiplying the possible points of view for the spectator. Of a pure aesthetic, his sculptures or drawings are articulated with poetry and delicacy to create a spatial harmony.
     
    Sébastien Preschoux was born in 1974. Self-taught artist, his work has been presented by prestigious Parisian institutions such as the Palais de Tokyo, the musée du quai Branly, Nuit Blanche or the City of Paris.
  • "It is by being curious that we do, it is by doing that we learn and it is by learning that we evolve..." - Sébastien Preschoux
  • Sébastien Preschoux, Filature Levavasseur - Heritage Days 2022, Eure, France | Photo: Ludovic Le Couster

  • “My work and its coloring should penetrate deeply into the viewer and touch on an emotional level and awaken understanding for the relevance of color. Because seeing color is so normal for us, for me it is a freaky wonder."
    - Tomislav Topic

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  • Tomislav Topic

    Tomislav Topic, Coloropolis Curved, 2022

    Tomislav Topic

    Born in 1985 and a graduate of the University of Applied Sciences and Arts in Hildesheim (Germany), Tomislav Topic lives and works in Berlin. Combining art, mathematics and optics, he has developed over the years a body of work that combines studio works (paintings, sculptures) with regular interventions in public spaces in the form of murals and monumental installations. His work is characterized using simple and colourful geometric forms, an abstract plastic vocabulary that makes his works accessible to all. By going to the essence, focusing on the inherent impact of colour and drawing on its expressiveness to create nuanced and shifting spaces, Topic has succeeded in developing his own language.
     
    With his interventions in public space, Topic seeks to create a poetic visual experience by altering our perception of the environment. From monumental installations to sculptures, these interventions seek to break our routines, to surprise us, to stimulate our daily lives and to stimulate our senses. Topic's unique style of colourful suspended textile installations are easily recognizable and have made him internationally renowned. Between the rigour of his creations and the unstable perception generated by moiré effects, the Berlin artist delivers a paradoxical work that defies simple classification.
     
    Tomislav Topic was born in Hanover and currently lives in Berlin. He graduated from the University of Applied Sciences and Arts in Hildesheim (Germany) and the University of Wisconsin-Stout (USA). He completed his academic career with a diploma in colour design and is also a lecturer in art courses at the universities of Berlin, Halle and Hildesheim. He is a member of the artist duo Quintessenz and has been pursuing a solo career for over ten years. He is regularly invited to festivals, exhibitions and artist residencies and has created works in public spaces in Germany, Switzerland, France, Italy, Greece, Mauritius, Qatar, the United States and China. His paintings are regularly shown in solo and group exhibitions and can be found in numerous private collections.
     
  • Tomislav Topic, "Nenuphar de Molitor", Paris 2018
  • It's well known that historically, artists have kept questioning and heightening ways of seeing and interacting with the works. In 1955 took place the resounding exhibition The Movement under the impulse of the gallery owner Denise Rene and the artist Victor Vasarely. Deriving from geometric abstraction, Kinetic art is then quickly assigned to a vast set of artistic approaches in which the real or virtual movement occupies a determining place.

    Influenced by these research, the artists presented during the exhibition Abstract Experience offer us deeply aesthetic works showing a great stringency and radicality. Each of the pieces in this group exhibition leads the viewer to question their place in the space. Often lost, questioning their own reality, the spectator is fascinated by the disconcerting optical effects which change the decor in a dynamic way. These works push the mechanisms of human perception to the maximum of their capacity, yet the questioning process gives way to fascination and a flow of emotions.

  • Stay tuned for more

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