Nikolett Balázs’s (b. 1990) works are impressions of both personal experiences and her local, Eastern European environment. Balázs constructs images from the memories of manual labour: she sews in linen with the sewing machine of her mother, smears the paint like butter in a baking pan, applies various weed species to make it resemble her long-forgotten thick hair and folds a large sheet of primed canvas into a foldable fan, like she used to do it with paper when Balázs was a kindergartener. What excites her is the deheroising of the numerous means of high art and the painting itself, making it sensual, playful and socially engaged.

Nikolett Balázs has strict rules regarding the final image, and she resolves this tenacity and formalism with continuous reshaping. A hand of one picture becomes a toe of another. The final form of a work lasts until the exhibition and the documentation, then she usually applies other decisions of forming; she tends to recontextualize them.