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Art, Nature, and the Rhythm of Life
Francis Carr’s approach to landscape painting was immersive. He did not merely observe but lived within the environments he painted, often returning to the same locations for weeks at a time. His landscapes are deeply rhythmical, with layers of color forming an almost musical composition. Through abstraction, he sought to distill the essence of a place — its rhythm, emotion, and elemental purity — rather than depict it in a purely representational way.
An early advocate for ecological awareness, Carr saw his artistic practice as a means of both celebrating and protecting nature. His landscapes are not just depictions of the natural world; they are calls to presence and attunement. He believed in engaging all the senses, drawing the viewer into an active experience rather than passive observation.
Magic Garden: A Mosaic of Wonder
Francis Carr’s Magic Garden was a striking mosaic mural created for Holman Hunt Infants School in Fulham. Covering half of a school hall wall, the artwork used light from nearby windows to bring its vibrant colors and dynamic forms to life. Carr incorporated twenty-five different materials, including mirrors, marble, enamel, brass, copper, bark, cork, and even clock faces, creating a rich, tactile experience for children. The mural featured a dense array of flowers, fish, birds, and animals, all positioned within easy reach to encourage exploration through both sight and touch.
Reuniting with an old friend
Istvan Nyari was the first artist I ever represented.
His extraordinary modesty vis-à-vis painting and his astonishing capacity for work have been a great source of inspiration for me since the very beginning. He is an old friend I admire as an artist, and from whom I learned so much about painting. He considers himself a pop-surrealist artist, and I think he has one of the most exciting perspectives among the creators I have ever met.
His paintings take months to produce owing to their practically exaggerated precision. Both of us are movie enthusiasts, and it provides a good analogy – to observe the paintings of Istvan is like watching a great movie. You step into an other world, into his world, where everything is familiar, yet it feels different. Only a few artists are capable of taking the audience for such a journey.
Meet our artists
Art is eternal. But what about artworks?
Pista Horror is immersed in an intriguing concept: painting on tiles. He wants to move works out from the ordinary white cube milieu and showcase them in more unconventional settings. On surfaces, where they can be permanent – where one cannot simply take them off the wall just to be swapped for something else.
