Brigitta Kocsis is a Canadian-Hungarian visual artist, and she received her BFA in Vancouver from Emily Carr Institute of Art and Design. At the beginning of her career, Kocsis’ artistic interests included large-scale multimedia installations and video art. In 2000, she started focusing on painting, integrating abstract and figurative elements. Since then, her work has been included in group and solo exhibitions nationally and internationally, most notably the Geneva Art Biennale, CH; the Balassi Institute, FI; the Szeged University, HU; Harcourt House, Edmonton; Burnaby Art Gallery, Burnaby; Petley Jones Gallery, and Grunt Gallery, Vancouver; Herringer Kiss Gallery, Calgary; Brooklyn Expo Center, NY, and Outremont Art Gallery, Montreal.
Kocsis is the recipient of several grants and awards and has attended residencies in Paris, Berlin, at the Vancouver Film School, and the Vermont Studio Centre. Her most recent series, #techboyz, was curated by Lubos Culen and is presently on display at the Vernon Public Art Gallery, BC. In conjunction with the exhibition, an ISBN registered catalog was published, with an essay written by Michael Boyce.
Kocsis is best known for her large-scale paintings investigating the shifting concepts of the human body and its environment. She is interested in experimenting with the hybridity of both form and subject, where the image is not only restricted to what we see but how we experience memory, time, and space in our contemporary digital living.
Lyric: Well, my skeleton's a little stunned
Relieved by the loosening of skin I drunk on naivete 'cause it's got to taste Like nothin' that I've ever had before
I spike the recipe and turn my inner peace Into an achin' for some more
Well, my skeleton's been playin' dumb He's seen this happen many times before
Ow, ow, how it hurts Please gimme more Ow, ow, how it hurts Please give me more
Well, my one problem is that I can't forget The perfect man I was a life ago