Endre Tót has been an active participant in the international art scene since the 1970s.  In his earliest years as an artist, in the 1960s, he used media that was at the time considered unconventional in Hungary, such as drawings, colorful calligraphies, and informel painting.  These collages were then followed by pop-, and minimal art-influenced works.  In 1968-69, Tót exhibited at the legendary Iparterv exhibitions. Breaking away from painting around 1970-71, he starts developing the Nothing/Zero, Rain, and Gladness-ideas, and keeps working on these during his entire subsequent period.  Also, it was with these works that the artist gained recognition in the international art scene.  Maybe for this very reason did Tót neglect his early works, where the depicted spontaneous feelings with elementary power filled his canvases and papers with life.

The lyrical and passionate atmospheres of Tót's works from this period, like the White-pictures, works resembling calligraphies from the far-East and the Diary Drawings from Angyalföld were achieved by intuitive gestures all set around a central motif.
The – literally – diary drawings from Angyalföld from 1965 are improvisations following the artist's emotional rhythm, all without figures.
From the beat ink-drawing calligraphies, the artist makes a smooth transition with almost invisible motifs to ink-drawings decorated with patterns, text, or letter-imprints, where the spontaneous painterly characteristics are still present.
At the current exhibition at the acb Gallery Tót's paper-based works, paintings, drawings, and some collages are shown from the 1960s.

Curator: Andrea Bordács