TITLE_NAME :
06/06/2026 - 07/11/2026
Galerie Caroline O'Breen
Hazenstraat 54
1016 SR Amsterdam
The exhibition ORIGIN OF ASYMMETRY brings together works from various new series by Dutch-Hungarian photographer Satijn Panyigay that refer to her recurring search for balance within architectural environments, and her fascination with the imperfect.
Satijn Panyigay has built a consistent oeuvre centered around uninhabited spaces: museums between exhibitions, storage depots, houses under construction, vacant offices. These environments, empty at the moment of her visits, allow the artist to immerse herself in the emptiness. Panyigay always chooses spaces in transition and, regardless of the setting or scale, her work consistently returns to the same question: what remains when people leave?
Panyigay's work is inspired by large existential questions that remain unanswered. The artist takes this contradiction as her starting point: the way humans simultaneously seek and disrupt natural harmony, from which they tend to forget they are part of. It is this disbalance where her fascination lies. As a photographer, Panyigay looks for silence and stillness in architectural spaces, but it is precisely the functional aspects of those spaces, the traces of how they are used, that make them appealing to her.
The images we present in ORIGIN OF ASYMMETRY are created in analogue color and are quiet and unhurried. Walls, electric outlets, stains, holes, shadows, and gradients of light. In Panyigay's photos, everyday details take on a special atmosphere.
Galerie Caroline O'Breen
Hazenstraat 54
1016 SR Amsterdam
The exhibition ORIGIN OF ASYMMETRY brings together works from various new series by Dutch-Hungarian photographer Satijn Panyigay that refer to her recurring search for balance within architectural environments, and her fascination with the imperfect.
Satijn Panyigay has built a consistent oeuvre centered around uninhabited spaces: museums between exhibitions, storage depots, houses under construction, vacant offices. These environments, empty at the moment of her visits, allow the artist to immerse herself in the emptiness. Panyigay always chooses spaces in transition and, regardless of the setting or scale, her work consistently returns to the same question: what remains when people leave?
Panyigay's work is inspired by large existential questions that remain unanswered. The artist takes this contradiction as her starting point: the way humans simultaneously seek and disrupt natural harmony, from which they tend to forget they are part of. It is this disbalance where her fascination lies. As a photographer, Panyigay looks for silence and stillness in architectural spaces, but it is precisely the functional aspects of those spaces, the traces of how they are used, that make them appealing to her.
The images we present in ORIGIN OF ASYMMETRY are created in analogue color and are quiet and unhurried. Walls, electric outlets, stains, holes, shadows, and gradients of light. In Panyigay's photos, everyday details take on a special atmosphere.