About the art of Ádám Kokesch

Once you encounter Ádám Kokesch’s works, you will always remain their prisoner, as they create a sort of aesthetic trap. Rather than mere paintings on a wall, his works are surfaces, shapes, and discs composed of colours, which can be fixed in space ad libitum and even adjusted with the help of a “hinge”.
They are hybrid creations, real entities that combine simultaneously the appeal of paintings and of technical objects; as a result of their very specific presence, they seem to look back – staring almost at us – thus defining the space they occupy. They ask questions about what defines – what is – a work of art and what are the expectations of viewers on this. Why can a painting “only” hang on a wall?
Kokesch’s works play not only with the great traditions of abstract art [Mondrian, Malevich, Colour Field or Shaped Canvas], but also with means of conveying information and the visual rhetoric of pictograms. He builds his repertoire of forms based on a database, creating a synthesis between scientific thoroughness and subjective freedom and autocracy. The “acrylic” pictures painted on “plexiglass” are reversed glass paintings of sorts giving the impression of modern traffic signs or reminding us of surveillance cameras, while, placed horizontally, they could even be seen as modern-style trays. The precise geometrical segmentation of planes, the full-coloured, smooth-surfaced patterns and ornaments could be product samples of a new, mysterious material. And we may ask: what do these represent?
Kokesch does not limit his exploration and analitic questioning to the tradition of painting ad image/picture-making alone he also queries other genres and media. He approaches every genre, technique and medium with the same attitude of experimental probing and curiosity that questions well-established habits.

Anna-Marie Bonnet