Csíkszentmihályi Róbert

csikszentmihalyi_robert-1-274x181“I liked the forests; I always wanted to be a forester. I tracked the deer and the wild boar. Engaged in the sculpture, I ceased to frequent the forests. Nude models were not particularly interesting for me. During the lessons at the academy, I made a sculpture of a wild boar, avoiding any stir. I concealed it here and there, but once Master Pátzay noticed it at the secluded corner of the classroom.


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Mustering it he said: It is easy to form something what one has never seen!”Then came the years of the sculptor expertise.

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“I did not know that lime is not recommended to carve. The material of the ‘Mother and child’ statue was refused to obey. It was cracking and getting bristle, so I got angry, and after petrolization I wanted to burn. But it became harder and harder… since then, no amount of money having changed it.”

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On his desk there is a six-inch red marble statue, modestly. “A broken stepping-stone was lying on the street. Inside the piece of Tardos red marble there was a cephalopod fossil. I took it home, and around it I carved a figure. There were many to desire to buy the ’Introducing the Snail’ later.”

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He was always engaged in the question: what is common in animals and humans? We are using a lot of adjectives to characterize the human behavior: pig, fish, stallion, hedgehog, goose… First, only the effect in coincidence of the anatomical proportions caused his interest.

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“If standing on all fours and I lengthen the lower shanks, it becomes to be similar to a roe deer. The shortened legs of a deer: like a man. The body structures have almost no difference. My friends told me: ‘you had better not to show it anywhere’. Nevertheless, I nominated one of these to a wine festival, but it was not displayed, because a German tourist observed it, bought it, and took it with him.” It was twenty years ago. Since then, here became a nice collection from the human-animal sculptures.

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At the 1996 Exhibition of contemporary art at the Art Hall, he thought a high. “I nominated three figures: the wild boar, the fawn and the hen, wanting to fly. They put them out of sight, into a small room at the backyard. In these occasions ‘laureate’ sculptors award the best one with the ‘Oscar of Sculptors’ by secret ballot. For my surprise, I was called at the closing day: ‘where are you? Everybody, the press, the TV want you, you are the winner!’”

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There is an other bittersweet story on the winning sculpture, awarded by the Angling Association. The customer refused to take it over. Instead, in an anonymous way, they made some catfish, hook in its mouth. My beautiful mermaid was sold out quickly, in numbered series.

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Those understanding or even challenging the humor, are in the very best place. A crab eating set, found at the legacy of the Gundel family, served as model for the warlike scissors of the little bronze crab, just in preparation.

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The sculptor’s work is loud and dirty. Fifty years ago, using some hardly scraped up money,  he succeeded to buy a lot in the outskirts of Szentendre. It was surrounded by cornfields, facing an old and neglected garden of walnut trees, its owner visited it rarely. Rather the game came there, visiting the place. His young years were spent with enthusiastic construction. Those having been discarded by the town below were integrated to the building at the vineyards, with the help of friends and relatives. In this way the ruined cabinet line of the main street pharmacy was saved.


Meanwhile the plaster casts were constructed busily. If one did not like, he threw to the other side of the street. “ I thought the next Community Removal will clear them all. Only later, when the housing estate was built on the site of walnut trees, my neighbor confessed, that he stored all of the plaster pieces.” Well, nothing is over. People blessed with expert eye appreciate the particularity, even if the artist dissatisfies with his work.

30/3/2011 Szentednre

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Kossuth-díj 2013.


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