Tactile
Surface
Gesture held in the paint.
Working by hand changes the tempo of the image. It allows pressure, movement and scale to enter the work directly, without translating every mark through a tool.
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I am Laura Écsi Works held in over [Number] private collections and presented in [Number] exhibitions worldwide. I create contemporary paintings through layered colour, brushwork and the direct touch of my hands. Moving between observation, geometry and imagined worlds, I search for moments where matter, light and inner landscape meet. Gesture held in the paint. Working by hand changes the tempo of the image. It allows pressure, movement and scale to enter the work directly, without translating every mark through a tool. Tone as a way of building form. Light is not added at the end; it organises the image from within. Through shadow, gradation and contrast, forms begin to connect and hold their own rhythm. A painting understood as an object. I am interested in the moment when colour becomes physical — when texture, weight and duration can be felt before the image is fully read. A quiet chromatic constant. Whatever the palette, a trace of blue often remains. Sometimes it is clearly visible; sometimes it appears only as an undertone or atmosphere. A concise map for curators and viewers, offering three clear points of entry into the work. Natural microstructures become tactile paintings where detail, growth and surface are translated into relief. Geometric rhythms organise light, tension and depth within the painted field. Imagined worlds emerge through atmosphere, luminosity and non-mimetic form. I begin by preparing the canvas with a coloured ground — often red, neon pink or orange, sometimes a quieter tone. After a moment of stillness, I either follow a clear idea or allow the first marks to open the work. The process moves between planning and intuition: sketching, modelling, adjusting colour and returning after distance. A work is finished when it can remain in the studio and still feel complete. A coloured ground sets the first emotional and spatial register. Forms are shaped through touch, tonal modelling and gradual correction. Time away from the canvas determines the final point of completion. A focused portfolio selection across series, scale and period. Each painting stands individually, while the group traces an evolving visual language.A Contemporary Painter
The Studio Philosophy
Tactile
SurfaceLight and
StructureMaterial
PresenceTrace
of BlueThree Directions
in My PracticeOrganic Structures
Spatial Dynamics
Alternative Realities
My Process
Ground
Model
Resolve
Selected Works
I work with curators and cultural institutions on exhibitions, site-responsive projects and formats that extend the language of the paintings.
For art advisors, interior designers and architects, I offer guidance when an existing or newly developed painting is considered for a private, residential, commercial or cultural setting.
The discussion centres on proportion, surface, light and how the piece is encountered on site.
A commissioned painting can begin with a new idea or with a sold work you feel connected to.
Each piece is developed as an original painting, shaped through dialogue, colour, scale and atmosphere.
Recent public presentations and notes from the studio.