Or how a painter’s canvas turns into a universal building component

Text: Vilmos Katona

The international trend of art born in 1946 which was planted in South America in the wake of the Russian avantgarde of a generation of artists such as Malevich, Kandinsky, Tatlin and Lisicky had already made firm steps towards the novelty approach of geometric art. MADI objects which hover above architecture, sculpture and painting by overlapping them tend to embody the potentials of actualization but remain within the framework of such genres as icons and sacred tableaux. Saxon who gave the name supreMADIsm to the international art festival organised in Moscow in 2006, did not regard the image object his primary product but focussed on the broken dimansional utopia, which he referred to with his own coinage: the representation of a „polydimensional field”. Saxon is an internationally renowned artist. Between 1996–97 he received an invitation to the series of exhibitions titled Beyond Art organized by Peter Weibel, which was presented in Graz and Antwerpen after Budapest. The international exhibition organised for the 50th anniversary of the manifestation of MADI he was invited to an international exhibition in Spain. His work titled Dimension Chess was exhibited in 1999 in the Hungarian House in Berlin. At the turn of the millennia he received a six-month scholarship from the French state and the Espace de l’Art Concret as well as a studio residence in Mouans-Sartoux in the south of France. The most recent international multi-member exhibition was in the exhibition area of Espace Christiane Peugeot in Paris.