Pataki Balázs

pataki_balazs-1-274x182When I was young, I attended a drawing school of miners, 100 years old. I drew portraits, painted landscapes. No one believed my future. Still, I entered to the MOME – University of Arts. There I felt that the landscapes I painted became empty. Prof. János Fajó taught drawing, I owe to him to meet the geometric art, and this gave a new meaning to all.


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Even in my university years I started to design iron stoves and fireplace sets for the Fireplace Ltd. I design 5-6 new models yearly; they sell 40-50 thousand pieces annually in Western European markets. There are combined models with stones and ceramics. Models are prepared in my workshop here.


I am engaged either in stove design or painting. Before painting I need few days to calm down. I start to paint a picture only when a certain feeling arrives.

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The geometry offers endless possibilities. When I draw a form or its various variations, it is a hard job to limit a line, or which intersection would be better. How a surface be covered by another surface? Where is the point when we are talking about not only lines and colours, but something appears in the pictures as well? However, we must also take care not to lose the balance of the composition.

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I use wood panels, so images are emerging from the plane. After two layers of thin priming, the third layer is of thick oil paint. Three or four hours must be given continuously to avoid breaking the brushstrokes and to follow the form.

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There is no way to repeat or to repair. If the paint dries before I finish, or I make a mistake, I must scratch all and start it all again.

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In the middle of the village the steadings of the cooperative were abandoned. Roofs torn, groundwater level was knee-high in the basement. In the yard: rusty tractors. It was rumored that a tractor is sunken even in the basement. Later we found a large piece of iron there. We kids came here to play.

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This building, belonging to the Eszterházy estate, was built presumably around 1770, together with the curch. The local authority wanted to sell out the allotment cutting into four pieces, and to demolish the building. Fortunately, they had not money that time. I bought it later, to prevent the demolishing. During the renovation, I asked many times: need I this procedure? But, I live here, here are my workshops, I am able to entertain guests, and the cellar stores the vine of my father.

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I got the screen printer device of János Fajó for a symbolic sum. For prints, you need to make a film. To make an ink-blocking stencil, a woven mesh is covered by a thin light-sensitive gum-like layer. Placing the film on the layer and exposing with light, the gum-like layer remains soft and soluble where the film contains “red spots”. Later paint is pressed with fill blade or squeegee across the mesh, repeated according to the number of colours in use. You will have a perfect print if having perfect margins, and if using a due movings of the blade.

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I am dealing the idea to organize an artists’ camp, like the Szerencs Free School. I miss the days when we just dealt with geometry, and we were talking for hours about the composition…

19/7/2013 Császár



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