crayon on paper, 2021, signed lower right, 50 × 40 cm, framed, mounted, glazed.
The observation of movement and displacement is a central thought around which Maurer's work is organised across all media. The intention to study and visualise these processes is as present in prints made from the 1960s and the photographs and experimental films of the 1970s as it is in the paintings of recent years. Extending the principles laid down in the Displacements and Quasi Images series in the 1970s, Maurer's artistic practice shifted increasingly towards painting from the 1980s when she created a system of different coloured grids, then displaced them step by step resulting in planar geometric structures. Later, she also utilised similar gridlines for her shaped paintings when she curved the lines of the grid already known from previous works and filled in the areas with different colours, making the overlapping, seemingly immaterial, and transparent, but in fact opaque colour fields the central motif of the artworks. Her drawings entitled Penguin Variations (2021) could be viewed as sketches to her IXEK 7-1 series, (now in the collection of the Museum of Fine Art – Hungarian National Gallery), in which colours come into life; the red, blue, and yellow surfaces that create the illusion of semi-transparent films intersect, merge into, and interweave with one another. As a result of their interactions, they create layers of intermediate colours and the sensation of volume and depth; the constitution of a picture plane that has the illusion of spatiality. Maurer's simultaneously analytical and sensual artistic practice thus questions human perception and reality through the language of colours and forms.