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Martha Kicsiny is a British-Hungarian visual artist based in Ghent, Belgium. She is a multimedia art fellow at the Doctorate School of MOME University (Budapest, Hungary). In 2024, she was a guest researcher at KASK (Ghent, Belgium) and in 2025, she was an exchange student and research group member at LUCA School of Art (Brussels, Belgium). Throughout the years, ranging from video art and site-specific installations, to drawing and 3D printing, her practice focuses on the human condition in society, the expression of power in architecture and the mythological origins of oppression. <\/p>\n\n\n\n

In the past years, her focus has shifted to deal with the duality digital media brings into our lives; the polarity between our physical reality and online lives, as well as the tension between screen technology\u2019s presumed immateriality enabled by vast energy resources and extracted minerals and metals. Martha turns to 19th-century media archaeology findings to unearth the genealogy of our contemporary media. Her artworks fuse predigital and digital techniques to bridge light-based screen technology with materiality. She has researched and incorporated lithophanes into her art practice combining them with contemporary digital fabrication techniques, and adapting their themes to contemporary issues. Originally a 19th-century porcelain technique, Martha argues that lithophanes can be considered one of the first light-based mass media, and an unusual precursor to light art.<\/p>\n\n\n\n

Martha has exhibited throughout Europe at contemporary art group exhibitions and media art festivals. She has held solo shows and duo exhibitions in Budapest and is currently expanding her practice in Belgium. She has published her research in Hungarian and international publications, and given presentations on it at international conferences and seminars.<\/p>\n\n\n\n

Latest exhibitions and news:<\/em><\/strong><\/p>\n\n\n\n

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Beeswax lithophane workshop (Photo by P\u00e9ter Tam\u00e1s S\u00e1gi)<\/figcaption><\/figure>\n\n\n\n

Lecture and workshop on lithophanes: From Porcelain to PLA by Martha Kicsiny<\/a>
Lecture and workshop
October 30th 5pm, 2026
Marres, House for Contemporary Culture, Maastricht, Netherlands<\/p>\n\n\n\n

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The Network Reigns<\/a><\/strong>
Digital Power group exhibition at Wonder Festival
Opening October 26
October 27 – November 8, 2026
Wonderfestival<\/a> – Overkop, Groeningestraat 20, Kortrijk<\/p>\n\n\n\n

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A Place Where Contraries are Equally True <\/strong>
Group Exhibition
Curated by Hanna J\u00falia Erd\u0151si
Exhibiting artists: Felix Beaudry, Martha Kicsiny, Diego Latruwe, Eva L’Hoest, Fiona Lutjenhuis, Amanda E. Metzger, Jacopo Pagin, Helena Parys, Noa Verkeyn
Vernissage 23.10.2026 17-22h
23.10.2026-25.11.2026; Open Saturday-Sunday 14h-18h or by appointment
Ontsteking, Chinastraat 1, 9000, Gent<\/p>\n\n\n\n

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Interlaced Grounds
<\/a><\/strong>Group Exhibition
House of Bones Collective, Curated by Janne Gistelinck & Eleni Papadopoulou
Exhibiting artists: Alice Vanderschoot, Annelie Vaes, Cootje Veelenturf, Dan Xin Hao, Eleni Papadopoulou, Ellen Dhondt, Ella Schoning, Gayaneh De Coster, Ines Raspoet, Janne Gistelinck, Lieze De Middeleir, Louise Cremers, Martha Kicsiny, Sien Custers, Sien Godderis
Opening October 16, 18:00
October 17\u201318 2026
Blanco \u2014 Space of Nucleo, Groot Begijnhof 15, 9040 Gent
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Martha Kicsiny: Methods Of Enclosure
<\/a><\/strong>Solo exhibition
Parallel Vienna in collaboration with Horizont Gallery
Pavilion 7, Room 001
Opening September 9th 18:00
September 9-13
Otto Wagner Areal, Vienna, Austria<\/p>\n\n\n\n

In her first solo presentation in Vienna, Martha Kicsiny brings together recent works exploring personal mythology as a way of navigating the entanglement of technological progress, responsibility and guilt. Through drawings and 3D-printed lithophanes, she reflects on the social, political and ecological impact of contemporary digital technology as an immense hyperobject that can never be fully perceived.
Light plays a central role in Kicsiny’s practice, functioning as both a seductive medium and a force of danger. Like a trap for insects, the glow of screens draws us into the vast yet confined digital sphere, where connection can be both empowering and exploitative. Her images translate these contradictions into timeless symbols: fire raging on the wheel of fortune, cities struggling against enclosure, and ladders reaching towards skies tangled in fishing nets. Revisiting the 19th-century technique of lithophanes, Kicsiny uses 3D printing to create pigment-free images lit by LEDs and copper cables, transforming a historical technology into an analogue vessel for digital imagery. Across works developed over the past three years, she also considers the frame as a structure of power: an enclosure and a gate that controls how we connect and access the digital world.<\/p>\n\n\n\n

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