Tremble Like a Flower Szilard Huszank

Tremble Like a Flower
Szilard Huszank

From October 9, 2025 to November 22, 2025

Reisingerstraße 6 Rgb, 80337 München, Germany

Szilard Huszank, Op #27, 2023-2024, Oil on canvas, 150 cm x 200 cm

For many years, Szilard Huszank has devoted his painting exclusively to depictions of natural environments– typically forest scenes, clearings, and ponds framed by trees. Human and animal figures are entirely absent from his work. The motifs themselves recall the many nature scenes paint- ed in the 19th century in a range of styles, from Romanticism and Impressionism to Naturalism. In Huszank’s case, however, they are rendered with a color palette and painterly approach that feel distinctly contemporary–almost like a critical reflection or deconstruction of familiar landscape art.

Through the years, Huszank’s painting has steadily moved away from realistic coloration. His landscapes are increasingly flowing in most bright false colors–yellow, pink, sky-blue… This shift can be seen as a move toward autonomous painting, independent of representation, but also as an implicit critique of our increasingly alienated relationship with nature.

In recent years, the distance from representational realism has intensified further, and the paintings have become progressively more abstract. In a work such as “OP # 29, pp. 118–19,” the viewer must focus intently to discern faint suggestions of leaves and branches, and mentally “reconstruct” them into a natural scene. The vivid, dynamic brushwork evokes a deliberate connection to the tradition of Expressionist painting. Wolfgang Rihm’s already quoted statement that “in our time, when surrounding nature is endangered and retreating, the principles of the creaturely and the vegetative must find their realization in art” seems especially relevant here.
Considering Huszank’s paintings, one gets the impression that color, form, and expressive gesture themselves take on a natural quality–and that painting, in a sense, replaces the natural landscape. His works become artificial natures, or reservoirs of energy in Rihm’s sense–while also offering a kind of sanctuary for our perception, which is worn down by the relentless visual overload of everyday life.

By Peter Lodermeyer, Bonn

Artist Biography

Szilard Huszank was born in 1980 in Miskolc, Hungary. He currently lives and works in Augsburg, Germany. He studied at the Hungarian University of Fine Arts, Budapest as well as the École Supérieure des Beaux-Arts de Marseille and the Akademie der Bildenden Künste, Nuremberg, Germany.

Oscillating between figuration and abstraction, the artist’s wooded landscapes are characterized by vivid and vibrant colors, as well as cascading liquid gestures.

Szilard Huszank’s work has been exhibited at several institutions and galleries worldwide including Galerie Tanit Munich (2024), Bucsanyi, Washington DC, USA (2024), Galerie Drees, Hanover (2024), Galerie Tanit Beirut (2023), the Gopea-Kunstraum: Burg Bentheim (2023), Kunstverein Rosenheim and Ludwigsburg (2023), Neue Galerie Dachau (2022), Foley Gallery (2021), Alfred Toepfer Foundation (2019), Galerie Robert Drees (2018), Kunsthalle Schweinfurt (2012), Haus der Kunst (2009) and Kogart Foundation (2009). He is the recipient of the Phonix Art Prize – Evangelische Akademie Tutzing (2016) and the Art Prize of the Nuremberg News (2012). He also received the Alfred Toepfer Scholarship in 2009.

The artist’s work has been the subject of 5 books, all published by Kerber; I Just Keep Painting (2022), Recent Paintings of an Immigrant (2018), A Foreign Land (2015), Fiction Landscape (2014) and Consciously Unconsciously (2011).