Magdalena Ataman’s practice explores painting as a material process shaped by absorption and physical interaction with the surface. Rather than treating painting as image-making, she approaches it as a field in which matter records contact, pressure and duration.

Working through processes of reversal, reduction and selection, she treats large paintings as source material. From their reverse side, fragments emerge as autonomous works whose form and limits are determined by the behaviour of the material rather than by composition.

Through fragmentation and restraint, her work attends to what remains after an initial gesture has passed — traces shaped by absorption, chance and material memory. Painting unfolds through close viewing, where texture and layered residues quietly replace image.