Tamás Hencze

Born March 6 1938, Szekszárd
The Hungarian painter Tamás Hencze first presented himself to the public at the Iparterv movement exhibition in Budapest in 1968. His presentation was preceded by a journey to Paris (1961) and by his developing interest in modern art. His friendship with Korniss Dezsö (1908-1984), and other artists who intentionally built on the strong Hungarian avant-garde tradition, played an important initiation role. After his initial interest in Informel strategies (Anziksz, Mediterránatmoszféra/ Anziksz, Mediterranean atmosphere, 1965) he gradually inclined to formal solutions and his approach visually approximated the Op-art principles (Vörös oktáv/ Red Octave, 1967; Dinamikus struktúra I-II./ Dynamic Structure, 1969). At the turn of the decade Hencze became inspired by conceptual strategies which he used in land-art projection sketches, graphic prints, and paraphrases (Tűzképek/ Fiery Paintings; 1974 – burnt canvases captured in a slide show). His approach to painting was, under the influence of Kazimira Malevič's work (1879-1935), characterized by an interest in pure visual impression generated by geometrical shapes in various colours (Forgás/ Rotation, 1970; Monoton struktúra I-V/ Monotonous Structure I-V, 1972; Vertikális osztás I-VI/ Vertical Division I-VI, 1976). Hencze gradually reduced colourfulness (with red and blue accents) as well as morphology; besides the repetitive nature and well-thought-out gradation of elements (a scenographic approach to the area composition), it is the strong visual tension and illusive impression that are typical of his works (Vertikális atmoszféra I-IV/ Vertical Atmosphere, 1980; Fehér tér 45 fokban/ White Space in 45°, 1981; Fehér tér/ White Background 1981; Ismétlések I-V/ Repetition, 1982). In the 1980s he used the colour white primarily for the background, but he changed his approach in the following period (Piros-fehér-zöldgesztus/ Red, white, and green gesture, 1987). Thus, the previous austere system became fuller and richer (Sötét szféra I-I/ Dark Area I-II, 1993; Fehér fény triptichon/ White Light Triptych, 1995). The almost calligraphic quality of gesture deepens the transcendental content of the work and, at the same time, multiplies the variability of solutions.

Muzeum umění Olomouc 2011-2016