A framed letter is placed at the centre of the composition. A framed legal letter symbolises the father’s absence through an unfulfilled court order for child maintenance.
This installation features a collection of envelopes mounted on a wall. The envelopes are topped with cut-out shapes made of paper or card, decorated with swirling abstract patterns, mainly in shades of purple, pink, brown and blue. A framed letter is placed at the centre of the composition. Each envelope bears a handwritten address and a stamp. The envelopes are topped with cut-out shapes made of paper or card, decorated with swirling abstract patterns, mainly in shades of purple, pink, brown and blue. The elements appear to be arranged in an organised manner to form a geometric or symmetrical shape.
A comparison can be drawn here with "Letter to My Mother" (1981). This is a work of an intimate nature. Vera Molnar transposes her correspondence with her mother—marked by geographical and emotional separation—into abstract visual compositions. She uses a computer to translate the handwritten lines of the letters into geometric patterns, fragmented and disrupted by algorithms. These broken, repetitive lines—often minimalist in nature—reflect the irregular rhythm and imperfections of human handwriting. The series highlights emotional communication in a disembodied form, straddling the line between personal memory and a universal visual language. However, *Letter to My Mother* reveals an emotional dimension rarely seen in her other works: the use of letters as raw material imbues the geometric abstraction with a personal, memory-based function. Both approaches—Vera Molnar’s and my own—are rooted in an autobiographical starting point where epistolary correspondence becomes artistic material, revealing the complexity of human relationships.
