"The extraordinary thing about Márton Koppány’s work is the way he takes gaps in thought and elaborates on them. How he expands the unsaid. How he crafts a visual grammar by... More > framing it in verbal settings. The way he’s able to create more surface area than is originally given. This is a book of billboard puzzles that reveal in the subtlest way. These are posters that disturb meaning. Koppány’s destination seems to want to disrupt logic by executing it perfectly askew. Perfectly."
– Nico Vassilakis
"A completely infectious sense of humor which ridicules no one and degrades nothing makes sense of the inescapable circuits in which his work moves." – Karl Young
Nearly sixty years ago, Charles Olson warned, “The poet cannot afford to traffick in any other sign than his ‘one’,” preparing the way whether he knew it or not for... More > MÁRTON KOPPÁNY to take leave of his native Hungarian and to move into English, where for more than two decades he has been creating traffic signs with the gleeful abandon of a deranged city planner with an advanced degree in Dada. Or maybe not so deranged. I read the poems in _modulations_ as perfectly sensible, whether fish are emitting thought bubbles in the sky, or a table’s legs are deconstructed to show their essentially asemic nature. Language is our great connecting principle and Koppány’s language artfully breaks, reduces, and repairs poetry with a metaphysician’s discomfort matched with a physician’s healing touch. —Peter O'Leary< Less
Conceptual art can be bountiful, spare, even beautiful. With an economy of presentation, Márton Koppány’s work uniquely captures, invents, and refashions installations on the page... More > from unexpected sources. His works run the gamut of humor, politics, and philosophy. Each piece offers a genuine gift of perception. With signature purity, works such as “Asemic Volcano”, showcase the potency of word-free realities. “Emptiness” is vibrant with lui-meme realization. “One Moment in Three Sections” depicts a tiny triumph. “Old Question” and “Addendum” prepare the viewer for “Still Life No. 2,” a final reminder of the inherent interconnectedness among all things. The recombinant majesty of Koppány’s genius raises the bar for what is possible in the infinitely expanding universe of visual poetry. —Sheila E. Murphy< Less