Over the past few years, using minute and apparently monotonous brush strokes, but with gestures that create lightly sensitive and colourful surfaces, Daniela Bikácsi has marked the natural terrain almost as if it were an empty space, as if she emptied vegetation of all of its life and turned the very void so created into her paintings. She designs strongly geometric shapes, so strong they almost have symbolic meaning while she reduces and simplifies the shapes and forms of the terrain almost to the point of realism and figurativeness. Then, at the last moment, just before representation would become pure construction and abstract structure, before the motifs would freeze into lifelessness, she reverses her course and shapes the terrain, this evasive, though tangible void, into a never-has-been-and-never-will-be edifice, lyrically indefinite, yet almost identifiable. Her motifs: details of parks, pools, cornices and artifical mounds (tombs or mastabas), seem to be blueprints for „fairy-tale” land art projects where a kind of steppe terrain is scaled down to the size of a human palm. They are negative and positive shapes at the tender mercy of interpretation, or parables, witty and near-surrealistically metaphysical, or, conversely, iconic, exiled from the realm of temporality: in Daniela Bikácsi’s pictures the natural terrain becomes a nature morte. It seems as if time could paint, and were actually painting, these pictures, as if, from a continuous process of drying, the mounds, depressions and protrusions were gaining and loosing colour, and decaying into beauty and silence, while turning into the sculpture of eternity. Her latest pictures, which exude belief in the validity of sensuality and form with deeply moving force, are glazed over by the subdued light of resigned wisdom. Apparently, Bikácsi is acutely aware of the speed with which the meaning of a picture and the interpretability of a meaning have changed over the past few years as a result of characteristics and functions of a completely different nature, i. e. its speed, proliferation, and profusion, which are unconnected with and different from the conceptual essence of a picture, and, also, the impetus that turns the picture into a process, and in consequence an ornament. In other words: the dynamism and density of information devours communication itself. Also, she is aware of the fact that all this is a consequence of an impatient, also trans-aesthetised, trans-ideologised and narcotised horror vacui of a new kind, an amalgam of desires sublimated into shrillness and aggression, to serve as a stimulant. It is the ornamentalism emerging from this horror vacui that amor vacui, which Daniela Bikácsi has also discovered, effectively counterbalances by reversing the negative charge of the notions of void, emptiness and scarcity.