As a member of the youngest generation of painters, Gergő Szinyova deals with the reinterpretation of the abstract, monochrome painterly tradition. The layers of acrylic paint which conceal one another in a transparent manner on his large-scale canvases are complemented by airbrushed and drawn marker prints. Before applying the gestures (which remain as traces), he makes paper monotypes of the uppermost layer of paint. In addition to removing some of the acrylic paint, the paper that has been pressed to the surface captures a unique and unrepeatable mirror of the painted image. In addition to combining techniques, Szinyova also stretches the surface borders of his paintings to extremes. According to him, the side surfaces beyond the margins of a painting are also suitable surfaces for the “picture-object.” In the classical case of a canvas painting hung on a wall, these sides of the canvas are inaccessible domains, confronting us with a kind of visible realm of invisibility.