Where an
image becomes
a feeling.
Ilona Weisz was born in Budapest in 1993 and moved to Vienna in 2021. Her practice centres on abstract painting, light and the unstable boundaries of an image.
During her youth, an accident left her without sight for six months. That experience changed her relationship with looking. It remains a point of reference for a practice concerned with patches of colour, uncertain forms and the images carried within.
The paintings approach perception as an inner landscape. Overlapping circles of light, shifting colour and soft painted grounds hold the feeling of something seen, remembered or almost recognised. The visual language has affinities with photographic defocus, while the seasonal cycle draws its themes from phenomena of human vision.
- Born
- Budapest, 1993
- Based in
- Vienna, since 2021
- Practice
- Abstract painting
A landscape
without a
fixed horizon.
A clear image gives a place its edges. An inner image can hold the same place through its temperature, rhythm and light. This is the territory of the seasonal cycle: a blue that feels distant, an amber that seems to approach, a pale form that remains just beyond definition.
The four seasons offer different conditions for looking. Winter leaves space around a small light. Spring carries a trace forward. Summer opens a field. Autumn changes the balance of warmth. The fifth chapter gathers those experiences into an imagined inner season.
The vocabulary of perception gives the work a structure. Phosphenes, afterimages, entoptic phenomena, colour adaptation and the Purkinje shift provide distinct references. Their use here is poetic, without assigning a medical diagnosis to the artist.
The rhythm
of a circle.
At a distance, the circles gather into light. Closer to the surface, their edges and overlaps become visible. The gallery and studio studies explore this change of scale, placing the compositions in quiet spaces where daylight can reach them.
A colour can be a place
to return to.
The short poetic fragments throughout this site are editorial texts for the seasonal cycle, rather than attributed quotations. Images are digital studies; no physical medium, dimensions or exhibition history are asserted for them.