Fruzsina Kiss
painting/fine art
Weißensee Kunsthochschule Berlin
Graduates: 2026
Specialisms: Fine Art / Painting / Printmaking
My location: Berlin, Germany
Fruzsina Kiss
First Name: Fruzsina
Last Name: Kiss
University / College: Weißensee Kunsthochschule Berlin
Course / Program: painting/fine art
Graduates: 2026
Specialisms: Fine Art / Painting / Printmaking
My Location: Berlin, Germany
Website: Click To See Website
About
Fruzsina Kiss, born in 1998 in Budapest, Hungary, studied at the Weißensee School of Art and Design Berlin from 2018 to 2024, where she graduated with a degree in Painting. Her final project, Total Communication Overload, earned her the Mart Stam Prize. Between 2024 and 2026, she continued her studies as a “Meisterschülerin” under Professor Nader Ahriman. During her studies, Kiss spent a semester at the Royal Institute of Art in Stockholm. Prior to moving to Berlin, she attended theHungarian University of Fine Arts for one year. Between 2022 and 2026, her work was featured in several group exhibitions in Budapest and Berlin, introducing her artistic practice to a broader audience.
Her practice operates in the unstable space between photography, painting, and digital image-making. She approaches images as provisional and continually evolving rather than fixed endpoints. Through processes of layering, overpainting, erasure, and digital manipulation, she works across analogue and digital methods to examine how images are constructed, revised, and perceived over time. Transformation functions both as a material process and a conceptual lens, positioning the image as something mutable and unresolved. She has always been drawn to taking a piece of reality and incorporating it into her painterly realm. She observes her surroundings and photographs visual notions, then transforms the images into digital collages. These collages are transferred onto canvas using various printing techniques. Her work process abstracts a part of reality and places it within the context of pictorial space. By juxtaposing existing visual information with painting, she creates contrasts between opposing qualities, such as paint versus print. The tension between thick brushstrokes and controlled, printed images give rise to a paradox—loose structures and strict movements. It is an interplay of gestures and prints, a collision of mediums. Each painting contains a dense network of notions and ideas. It is a digital-looking analogue illusion: a bending of reality.
“X-Ray” is a series balancing on the intersection of digital and painterly spaces. The balance of power is deliberately shifted between intention and chance, from control to coincidence. The controllable action of digital processes is being moved towards a more fluid painterly place, towards the unpredictable glitch. It´s destabilized digitality. Canvas without primer absorbs ink differently, moving the printed image away from strict reproducibility. It results in a dialogue between method and material. Print exists as a mark and a reaction at the same time. The precision of digital tools becomes subverted. A blurry photograph is both soft and sharp. Firm in its form yet dissolving in its execution, creating a duality and a paradox. This leftover image, diffused and distorted, is a trace of what it once was. Imperfection, interruption and erasure are active decisions, gestures that become fractures of this reality. Within these collages, within these fragments of reality, the world is tangible. It is not just a translation of an image, but a translation of lived experience, a translation of captured, distorted moments.
Competitions
