As a continuation of his recent work reflecting on the paradigm of modernist art, Péter Tamás Halász has taken a painting from an early stage of his painting career and using the device of renewal, widespread nowadays primarily in the field of technology, he implanted it among his current works. The painting-object of two parts critically addresses the traditional panel painting format and the Malevichean tradition of Suprematism: by turning the canvas perpendicularly into the space and putting the stretcher bar forming the „invisible structure" of the painting on display, he shifts emphasis from spiritual iconicity to construction and functionality.
