Ildiko Kovacs’ ability to sculpt line, as if it is a three-dimensional form rendered flat, is a signature feature of some of her most-celebrated works. During this period in her oeuvre Kovacs initiated a dialogue between the western tradition of abstraction and Indigenous art. The palette of the subject work accentuates the artist’s focus on the textural qualities of paint, built up in layers to create a distinct sense of both depth and solidity.
In the mid-1990s Kovacs spent 10 months living and working in Broome, beginning a period of engagement with Indigenous artists and their communities. She was particularly moved by the work of Rover Thomas as suggested by the dynamic lines and flat planes of colour that map terrain in a number of her subsequent works.
Kovacs’ painting radiates energy and movement. A sculpted, unbroken line emerges like a pathway through a field of colour, the composition enriched by the tension between the positive and negative spaces that it connects.