Dóra Maurer is one of the central figures in contemporary Hungarian art, and one of the foremost exponents of concrete art on the international stage. Since the 1960s she has developed a widely diversified body of work that combines conceptual approaches with a vocabulary of geometrical forms, and that not only is politically committed but also employs mathematical procedures. Maurer first came to attention through a singular graphic oeuvre, her avantgarde experimental films, and her conceptual photography. Since the early 1980s she has worked chiefly in the field of painting. During the successive phases of her career since then, she has produced various groups  of abstract geometric works, such as the Quasi Images, the Quod Libet series, the Overlappings, and the IXEK pictures.

Space, motion and perception are the central themes in her painting. Dóra Maurer is intrigued by the principle of change: by specially constructed shifts in grids, by superimposed visual systems, and by interpenetrating forms. Borne by the certainty that everything is subject to change, she constantly creates new works that reflect processual movement and the volatility of the moment. Maurer has long since departed from the handed-down traditions of the painting, especially its customary rectangular shape and its static, planar  look. Instead she creates obliquely angled or curved works that come across as dynamic, light, and unbound by gravity.

This is likewise true of her large piece Hemisphärische Drillinge [Hemispherical Triplets]. It consists of three irregularly jagged visual elements and a gridded wall drawing that suggests a hemisphere. The picture panels show mutually interlocking rectangles with coloured outlines. Their rounded, perspectival lines follow the spherically curved grid pattern and in this way resemble precise snapshots or details taken from a complex spatial visualisation system.

Dóra Maurer

1937 born in Budapest

Lives and works in Budapest