TAMÁS HENCZE, a member of the Iparterv generation, like his contemporaries, tasted the air of unlimited artistic freedom during a trip to Western Europe and decided to follow his own path in painting. In the mid-1960s, he began to use a paint roller to paint his pictures, and this tool became the main inspiration for his experiments in materialbased painting, which freed his art from all ideological and philosophical constraints and the necessity of representation. “For me, the inspiration was material, not spiritual. How the material moves, how paint works, to put it pompously: it was the techniques or art based on the medium that interested me, not the meaning...,” said Tamas Hencze. The paint, spreading on the roller and getting thinner, creates a gradual transition between colours, so that the constantly darkening and lightening shades create the illusion of space. From 1965 onwards, he painted his pictures with a roller, and his paintings showed a variety of structures – bands, stripes, and then round and elliptical “holes” – which contemporary critics sometimes classified as op-art, but his paintings are closer to minimalist, structuralist art. Dynamic Structure No. 1 is one of a three-part series, each of which shows a similar pattern of holes with slight variations, consisting of blurred-edged patches of roughly the same size. In a process similar to the offset technique used in printing, Hencze eliminates the personal signature, the painterly gesture, to create a clean, regular, print-like surface that is nonetheless unique and unrepeatable.