2017 – 2023, studied at the Academy of Arts in Banská Bystrica, in the Department of Painting, in the   STARTUP Studio led by Doz. Ján Triaška. 2013 – 2017, studied promotional art and design at the School of Applied Arts in Košice.  2024, 2025 and 2026, finalist in the Painting Competition; on his debut in 2024, won 3rd Prize.

Šimon Tóth’s work is developed principally in the medium of painting. Formally it is defined especially by visual reduction, which the artist arrives at by suppression of details, use of simple forms, and muted, earthy colour. Narrative statement, however, is not by any means weakened, rather the contrary. In recent years Tóth has devoted himself intensively to the theme of house and home, which takes on what amounts to an archetypal dimension in his art. The house and its immediate suerroundings are not simply an architectural motif for this artist; they become a metaphor of life itself. Although Toth’s paintings seem as though arrested outside time and space, his thoughful visual reduction is in reality a profoundly personal and sensitive means of comprehending the world via painting. 

His final entry All Day (2026) confirms’s Šimon Tóth’s long-term orientation to the theme of everyday life and follows on naturally from key motifs of his work hitherto. The artist remains faithful to his characteristic painterly language, which relies on robust geometrical forms and striking painterly abbreviation. The monumental figure at the centre of the scene is watering the garden, but its head is missing – corporality is highlighted here, but simultaneously made anonymous, stripped of individual identity. It becomes a kind of universal form, the bearer of a simple function. The motif of watering the garden, together with the work’s title, indicate a certain sense of duty, an acceptance of everydayness, its order and rhythm. Precisely in the most banal, recurrent activities, Tóth finds a profound existential dimension: care of the garden becomes a metaphor for care of the world. It is at the same time a reminder of our unconditional rootedness, being bonded with Nature, and respecting its cyclical movement. As the artist states:“ At the end of the day, in the last rays trickling along the leaves of the plants, the greenhouse becomes a space of mutual care. A figure is entangled with a hose, as if bound by the duty to keep the plants alive. In this pilgrimage we remain tied to the ground, to Nature, and ourselves to ourselves.”  Tóth’s painting is a reflection on our (human) effort, sometimes senseless or misconceived but in the highest degree necessary, by the most banal activities to keep order in a world that is changing (collapsing) right before our eyes.