“I create something not because somebody needs it. At one time I loved to draw, but now I cannot imagine sitting down and pulling lines, shaping tonalities. I had a period based on factures, that time I made pictures from organic matters. I did not use even paints. Blue vitriol, chloride of lime, golden mica, ferric chloride… – he shows- I burned glues on it, even pressed hair and strawberry jam. They often ask: why strawberry jam? “ “For you have had only this at home” – we answer in chorus

. “And why the hair? General belief is that hair cutting is an ancient symbol of separation. But I did not know this that time.” At high school, he wanted to study graphics, but enrolled to be sculptor. At the College already his major was painting.

Handel’s music is played. “I probably like it, because the Baroque music is organic as well, building on contradictions, parts are spiraling around, one is sometimes lost dissolving in the fugues, then, abruptly, all instruments tune up to the topic.” The music CD expires, but in no time we ask him to start one of his own composition. “Surely you use computer. Did you do music? No? Then you will do!”

I saw his painting at an exhibition of contemporary artists. It was the most exciting object. I slowly observed that I was not able to pass by, my eye was sliding on the colours.

He never decides when to paint beforehand. Canvasses and paints are heaping. Meanwhile, the life as usual: teaching, exhibitions, music. Then the right day arrives… “I become unrestful, walking and fussing around all day. As I observed, I start to paint around 10 o’clock evening. That time nothing disturbs me.”

He attacks the canvass in extasy, with hands in rubble gloves, with brushes. “Finishing the intensive fight, I get tired as weight-lifters after 2 minutes. Usually I do not remember what I had been thinking of. I know the work is done, because I am happy and I cannot add anything to the artwork. Then I sit down against it on the armchair, looking at it 2-3 hours.”

“Once a group visited me. One of the ladies complained, quite irritatedly, why I do not finish my paintings. We started to talk: the empty parts I leave highlight the composition, motifs can get air from these omittings. At the end, she stayed for the longest. While arguing a lot, she was the mostly interested.”

The greatest praise comes unexpectedly. One day a visitor was accompanied by his teenager daughter. That time the designer jeans were scarce and expensive, but she really wanted one. The father’s offer was one jeans or two small pictures. She chose the pictures.

Talking about the creation of sculptures, he notes: “ I have very good neighbours”.

He likes young people. “These children know how to draw very well. My job is to shepherd them where to go further, and which way has a dead end. “ He recently patricipated in a group exhibition of contemporary artists at the Yogyakarta Art University in Indonesia. There is a symbiosis of every branch of arts, starting from music, fine arts, to the lanscape arts.” We asked: what is that? “ Just one example. In the centre of the campus there is a huge, beautiful old tree. We were joking, that they surely planned the university buildings around this tree. It turned out that this was the truth. “ Perhaps the world works in this way!

13/4/2011 Budapest

Read more:
www.kopasztamas.hu

When the train arrived to the station, it was heavy snow. “I wonder that you did not return when it turned out I am living in a farm. I quitted teaching at the MOME (Moholy-Nagy University of Art). I restarted. Good to be at home.”

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A milk can, the percussion gardon, an African music device, Indian percussions invoke the cozy gatherings in a Kisoroszi pub. But, these are not only instruments for an evening entertainment, but serve as models as well. “ Once I carved these items of stone. A sculpture is music. I do not mean the rhythmic of hammering on the chisel, but the proportion and the arrangement.”

“In the classical sense, an artistic building means the complexity of the structure, and the ritual events taking place in it. The sculpture inside was a trade, not art.”

“The sculpture is independent on the material. During the summer, I am carving wood in my courtyard. In winter, I work stone in the studio. The statutes for the church of St. Paul Apostle were cast under the shed.”

“To work with polystyrene foam is equally nasty and convenient. Weight of this statue would be too much for the second level of a two-storey club, even if made of wood. I will coat it with polyamide. Sometimes a next-door girl comes here sitting as model. We are working now on the arm.”

I like Bach. He inspired me to create the “Good night, Mr. Goldberg”

The statue “Heracles” must be matched to the huge space around. Gigantic international companies operate at the Graphisoft Park, and it was not an easy task to find a worthy topic. For me, as a sculptor, it was an exciting challenge to find a steady position of the huge figure, reclining upon its two legs and a knobstick.

I studied ceramics first, and then I ended up in the sculpture. Mastering by István Bencsik, I was working at the abandoned limestone quarry at the Szársomlyó. It was a wonderful year. We lived in the renovated Gyimóthy mansion, food was served, We needed to work only for 8-10 hours a day. We can create freely.

My brother László, who spent three years there, obsessed with the granite. Several tons of moving stones are placed on each other, having carved with so perfectionism, that we can tilt from one position to another with one hand. Our father sticks to anything that we created, to my diploma work (Horse and Man Swimming), to the granite fountain made by my brother.

Good to be here at the farm. The only trouble is of the predators. Recently a marten were ravining the pet birds of my father. But when the chickens’ turn came (they mean the everyday food), we needed to call help. Poor fellow was so wild that we could not touch the cage in which they wanted to convey. That was the destiny of the marten.

16/12/2012 Tanya

“When I introduced my works in Europe first, they said: ‘All of these is sharp and stabbing, it is clear that you grew up elsewhere’. Yes, you get your tangible experiences from where you grew up. I get my subjects from the nature. The tropical lights and reflections are appearing in my geometrical sculptures. In my Caracas studio I create metal sculptures from stainless steel plates, using water jet cutting and then mirror-polishing. Perhaps I balanced this chillness to create my first Tropical Eggs in 2003. I use glass at my friends in Hungary. Now I was poisoned to work with colours and frits. In two days we blew 29 eggs. Every egg presents the color and pattern of a tropical bird. This ruby red one is my favorite.” Ruby gold glass was discovered by Johann Kunckel, alchemist, his ancestor (published first in the Ars Vitria, around 1700)

I grew up in a multicultural environment. My father is German, my mother Hungarian. I was born in Caracas. From 1900 to the eighties Venezuela was a very receptive country. Expats brought there all sorts of culture. In Caracas, many national festivals brimmed the life. There was a 2000-strong Hungarian community as well, eagerly guarding the traditions of the old country.

“Our neighbor was Seka (Seka Severin de Tudja), the famous Croatian ceramicist. At 15, I hired in her studio as assistant. She used not ready-made clays but powders. I mixed these according to special recipes. She created constructed forms, sometimes firing 15 layers. That time I already knew that I wanted to deal with some things related to the arts. But there was no training of this type in Venezuela.”

“After the ‘political change’ (1990) I asked for Hungarian citizenship, and moved to Budapest. I wanted to apply for the Film Academy first, and then finally I enrolled to the University of Applied Arts, design faculty. I wanted to know the devices for the artistic works, so I went through all the workshops. As getting to know the materials and learning the technical tricks, I gained many friends among the students, and the artist-professors greatly impressed me.

“After graduating, I continued my studies in Berlin. I had studies such as curator’s work, and the role of the art in architecture. Recently I read lessons on the art of South America. There are 2400 galleries in Berlin, and you can visit more than 400 museums there. Not by chance, the top elite artists of Damascus found refuge in Berlin.”

No secret that he is sensitively concerning to the world’s major social tensions. He has connected to an international art project, in which he designs installations, expressing his opinion on the power and violence using the language of the video and photo.

According to our knowledge, the only living creature with standing the circumstances of the outer space without any technical help is the tardigrade. Seemingly it is able to suspend its life activity, so neither the lack of oxygen, nor the cold or the radiation do harm to it. So to say, a real alien. This animal, tolerating extra conditions in the nature, lives in the moss. Even the largest is smaller than 2 mm. Some varieties can eject a calcite dagger from its mouth. “Its odd moving and the form of its folds seized my imagination. I carved out a tardigrade from an andesite rock of 1×0.5 meter size. Had it existed in this size, perhaps it would be the most dangerous beast of the world.”

Staring your eyes in the mirror for long, suddenly your face disappears. They say the eye is the mirror of the soul. So when we explore our own look, we seek the answer: who am I? Our eyes see a man without ego, a void around him. It is like a space travel. Perhaps it is a Buddha’s effect? “

“Having a Derkovits scholarship, I undertook to make the statue of Bodhidharma. He transferred the Ch’an (Zen) Buddhism to China; you can see his face in many places. I thought you must imagine his eternal figure in the endless space: a faceless space Buddha, in a red spacesuit, with oxygen tanks…

Wandering your fantasy in the Universe. In the dark sky, asteroids wandering. Shapeless basalt fragments are racing towards our planet, starting to melt when entering the atmosphere, as meteors.

“Carving the first pieces of the ‘Asteroids’, I planned the crater sites a forehand. The result was not natural at all; I needed to carve out in a different way. I figured out the form roughly, then I randomly engraved the craters without thinking on it. I think on this statues as nonfigurative and realistic works at the same time.”

You treat the stones as inanimate objects. “ My Moonplants are living, growing from crystals. It was difficult to carve out, because if a careless move breaks a piece, the statue is over. One day I made a branch separately. When my father saw it, he asked frightened: broken off? He relieved that it was an other.”

The ‘Meditation Object’, the ‘Hyper-Gothic-Pyramid’ and the ‘TSR Moons’ are peering at the sky likely. “ I like mathematics. I made geometric shapes as drawing first, then of paper, finally I carved to stone.”

Until we can decipher the mystery of Buddha, we must acquaint with the mysterious gaze of Vidya, the “Face of Vigiance”.

I did not care about Picasso at all. A fig for him! But, I got him as a thesis for state exam: I had to analyse the Guernica. From then on, I studied him a lot, especially the portraits of Dora Maar of tragic life. Picasso saw forms everywhere, transforming to plane everything what he saw in the space. And I develop back his paintings to the space, freely using Picasso’s ideas. .

Artists favour to reprocess the works of worthy predecessors. As Picasso painted the ‘Painter’ after El Greco, I create the sculpture version of the ‘Painter’ of Picasso. It aroused even the attention of a serious connoisseur of Picasso, he asked a version.”

He makes a lot of sketches on movements, muscles, bones. Sometimes years passed when a piece could be incorporated to a statue. He is working, looking for that something that somehow unfits into the whole. He says that a ‘cuckoo’s egg’ is needed. This is the point which attracts the viewer, fixing him to stand at the object.

Every good sculpture has an anomaly, to catch the eye. For example, the head. His heads are always different.

“The ‘infinite space’ keeps my mind occupied for long time. If you open a closed body, looking inside, you see a dark space without definite end. To develop this space is a gruelling, hard task for a sculptor.”

“At the start I worked with bronze and wood only. Then I painted my statues. I discovered the aluminium recently. It is a beautiful material. You can combine it well with wood and glass.

 The sculptor’s problem is the object itself, he needs to create an object what the viewer can receive. We need to entrust him, what he observe in the object. It is not the task of the sculptor to inflict himself on the viewer.”

“I make even assembled statues. Consisting of 4-5 pieces, you can put together in several ways. The interactive sculpture should be such that it remains a sculpture even if assembled by any way. Collectors are very fond of it. Some of them insist to put together the statue alone at home.”

A collector visited him when he realised that his new, modern house, purpose-built for his stately collection of antiquities, does not tolerate the curiosities. The cool minimalist environment sought these funny and puzzle-out-it sculptures.

Just now, he has no work in public. The “Great Reclining Woman”, a paraphrase of Michelangelo’ allegorical statue, “The Night”, is resting in his garden. It was a hard task to get a casting workshop for this statue of 40 pieces. In that time everybody wanted to cast a sculpture of St. Stephan.

At last, this sculpture was ready, and in 2004 it was presented by the Society of Sculptors at the Erzsébet square on the occasion of European accession. Its fate was caused by the plastic, painted cows of the European Union. Organisers wanted exactly to replace it by the cows, so it was removed. Now “she” is relaxing in the garden, surrounded by plaster moulds, and dense bush, wrapped by tall wild flowers.

28/8/2012 Biatorbágy

Read more:

www.attilamata.com

A móri Képző- és Iparművészeti Szabadiskola Alapítványát 22 éve magánemberek, művészek, mesteremberek alapították, a helyet a Móri Önkormányzat adja. 1994 óta nyaranta művésztelepet és nyári táborokat szerveznek hivatásos képző- és iparművészek részvételével illetve gyerekek számára.
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Mór központjában, a későbarokk stílusú Lamberg Kastély volt gazdasági épületeit a helyi művészközösség önkéntes munkával alakította át a művésztelep igényeinek megfelelően. A hely infrastruktúrájának fejlesztését és fenntartását az Alapítvány saját erőből fedezi.

A helyre hozott kútházban működik a fazekas műhely, a volt szamár- és lóistálló a felújítás után jelenleg műhelyeknek és egy kiállító teremnek ad helyet.

A műhelyekben szakemberek és mesterek vezetésével a magas művészetekben és népi mesterségekben meglévő technikai ismeretek átörökítése és tanítása folyik.

Egész évben nyitva áll a kortárs hazai és nemzetközi művészeti élet szereplői számára. A művésztelepen készült alkotások képezik az Alapítvány állandó kiállításának alapját.

Az egyes műhelyek önfenntartóak, év közben művészi kivitelezési munkákban működnek közre.

Több műfajban tevékenykednek: Hagyományos népi fazekasság, cserépkályha készítés, rakuzás,

szobrászat, viaszveszelytéses és precíziós bronzöntés, kézműves kovácsolás,fafaragás, nemeztextil falikárpit,

tűzzománc, grafika és szitanyomás, fotózás és camera obscura, művészkönyvek.

Állandó jelleggel sem állami, sem önkormányzati pénzügyi támogatásban nem részesül.

Állandó fizetett munkatársa nincs. Az Alapítvány tagjai önkéntes és ingyenes munkájukkal több millió forinttal gyarapítják Mór város vagyonát.

A közösség tagjai becsülik egymást, és a vezetésükre bízott műhelyeket. Nyitott szellemben és kultúrált körülmények között fogadják a vendégként érkező művészeket és megrendelőket.

2/8/2012 Mór

A bejegyzés a www.moriszabadiskola.hu honlap anyaga alapján készült saját fotóanyagunkkal illusztrálva.

“The bronze statue of nearly five-and-half meter was cast in 60 pieces. Each piece weighted 100-120 kg. Even to move the pieces required many people and good organization. In 2011, this statue was raised for Mr. Sándor Wekerle, eminent statesman of Hungary in Mór, his birthplace. The sculptor was Mr. Benedek Nagy, my father.”

A dozen students helped when needed. Welders made excellent works as well. Welded seams were grinded, then the statue received a patina layer, so its surface turned more beautiful.

Lost-wax casting (cire perdue method) is applied. As example, the birth of a public-area statue is presented using the sculpture of J. Zichy, a famous statesman. A mold is made of the original model, using polyurethane rubber; an outer mold is made from plaster. Once the mold is finished, molten wax is poured into it until an even coating covers the inner surface of the mold. Beeswax was used before, a Niral material now.

Metal is melted in a crucible in the furnace in his yard, and then poured carefully into the shell. It is no secret, either, that every public statue has a huge steel rod in the middle, that the metal thieves could not steal the statue.

He has casted, using bronze, a lot of things: man or horse, small or large. But it does not matter what the sculpture represent. For a caster, the important thing is to pursue exactly the vision of the artist. This does not just mean a perfect shape, but the choice of material, color and patina. Without partnership, technical expertise and humility the trade is not conceivable.

„Is there any temptation to add a little something to the model when working on an important piece?” „We correct a model only if the bronze thickness needs. There is a story of a help-mate caster, who, jokingly, aligned the tail of the horse from right to left at an equstrian statue, made by Pátzay, the famous professor of the Academy. The Master did not appreciate the joke.”

To know the material is a key issue. You must exactly know the behaviour of the alloys. Melting the copper, it is important how much tin or other metal are added. “ A designer asked me to produce some lamp arms of aluminum. Casting of aluminum is rather an industrial procedure. Expensive, and remunerative for large series only. I will stay at bronze and at the statues. “

His father, sister, and brother-in-law: all sculptors. Among these excellent artists he has no artistic ambitions. He, however, observes the slowly evolving waves of the wax, poured to the water: as the lava flowing out of a volcano.

Just for curiosity, he needed to cast the waves using iron and bronze. An interesting form came out from a bunch of dry flowers, and the miniature window frames framed together look well.

13/7/2012 Mór

“I clicked to this movement” – she responds quickly, and grabbing the bending figure at waist, she puts it to and fro with springy move. The other statue stands in idly staring posture. After the figure reaches a fixed position on the beam, the lazy posture of the other one changes with an acrobatic act. We are witnessing the beginning of a new story. .

Shifting forward its feet and waist, it is on the desiring watch with proud and easy gait. Pretending to be pokey, but it is very attentive. A few inches, and it pulls its weight to the wall, saying: I am strong, I am the best. The zealous restowing is inspiring, time passing away quickly…

This “creative house” was established using the support of Mr. Péter Balogh. Originally, there were social flats in the house, these were transformed into studios. In the framework of the Amadeus Foundation, young artists get the opportunity of free creative work. It serves as a solid fundament, but everyone shapes his/her destiny.

“ I was listed into the first group. We are different, but deep in our souls we are longing for a studio of own. I am a autonomous artist.

It came in handy that the metal workshop of the University was unexploited then, so I learned how to deal with the metal. First my father instructed me, but I learned to weld not from him. He grumbled: “Can you see? The cinder falls down!” when the welding slag was not worked out. To work with machines is always dangerous somewhat. On the wall there are photoes of my injuries. Be a warning sign to be more careful.

At the well-equipped computer corner we glance over her periods: her thesis, the angels of Giotto, urban anchors, steel cacti in series. “ I carried an iron cactus in my bag aboard a bus. When a passenger discovered, there was a confusion.”

My stories are made from materials of a garbage heap. Pieces of iron, steel plates, pipes, wires, cables… they are all from the refuse dump of a closed-down factory.”

Walking around Óbuda, we have overmuch of stories and experiences.” This sculpture is entitled Queen, maybe Inside or Outside, perhaps Loving… originally it was half a meter higher, but it could not get out the door” – it is a short but eloquent comment. Stately posture, crossed arms hold away the world. A dense scrub encircles her. Who knows when the Creator thought: this is enough! Perhaps when she ran out of strength, patience, and anger.

Lonely figures and embracing couples are nearly flying among the aura of wires. So spiritful, honest, and radiant. Forms are whirling, if need, walking on their hands. Jesting or seriousness? The movement is always touching, but somehow grotesque as well.

I am a sculptor, I cut my hair myself. It takes 3-4 days while I am happy with the shape. I use my Mac to see it from back, where I need to cut shorter. It succeeded short a bit now, and my head cold. At home, I am sleeping and wake up in iron poppy field. There is at the end of my bed” How can you live among this amount of iron? So, that she ensouled them.

21/4/2012 Budapest

“ The coronation robe: it is a miracle! Only a few stone carving of the time of Stephen the Saint have survived — and then, here is a thousand-year-old textile, the most sensitive material…” It is a relique, richly embroidered with gold. Time-stained, but wearing makes it more mystic. Imagine the ceremony, when King Stephen and Queen Gisela passed this cultic ornate to the Székesfehérvár cathedral, processing with dignity among the people, and then spreading out the robe on the altar ceremoniously.”

This precious treasure of the National Museum is displayed now under glass. In the protective subdued light you can hardly enjoy its beauty, although its pattern evokes the first years of our state. He would not let the matter rest, so he made a hard decision: everybody should see this important national treasure. “ The sculptor must work even if he has not commission”

(photo: design of a gate at the Pannonhalma Abbey)

The mere copying was out of question, the robe needed to transform to bronze. Not only the details of the weaving techniques had to be evaluated and transferred to space, but the prophets, the saints and the apostles, even Christ and the royal family had to receive personality and face as well. And, at the end, the opus had a particular wandering.  Just now it is at the Buda Castle, on the Kapisztrán Square. “ It did not find its permanent location. I made it, and its duty to find its due place” – he says.

“At a sculptor’s studio is not much to see” – he said receiving us at a windy, stormy afternoon – “some sketches, reduced-size models, several tools”. So we looked for signals. On the wall, who is at the old photos? “ They are my maternal grandparents, and their youngest son, lost at the Don Bend battle in 1943.” What else you need as more reliable source to create the memorial of the victims of World War II?

When a sculptor receives an order connected to a historical event, he needs professional rationality, idea and emotion together. „ I could depict Vilmos Apor, the martyr bishop with hands casting up or kneeling, praying to God. But the Bishop of Győr, despite the threat, was not willing to give the girls and young women, refuged at his church, over to the Soviet soilders (to „peeling potato”, but, in fact, for sexual abuse). Bishop Apor’s ultimate message of his martyrdom and his life is that everyone has to sacrifice.”

The late WWII Hungarian premier, Pál Teleki, was facing a serious decision, and although the historians are considering differently his personality and role, the facts remain facts.

After all, how can be decided whether a sculpture is successful or not? „ Maybe that something will stand the test of time. If I complete something, I think that perhaps it is good, perhaps it is wrong. Nowadays it is a hard job to evaluate anything. There is no outstanding quality without to be called into question, and there is no bullshit without audience giving a cheer.”

Szent Márton Award (2013)

Started in Transylvania. I made a piece from a handful of clay. Then another one. I did not know the result. It was simple and easy. I got into a strange meditative state. And then I decided to make 341 pieces. Why so much? 100 are a few, I thought, 300 are already quite a lot, and I finally multiplied two prime numbers. They’re all different. Having no preconception, they came in line. The result was good if it just happened. When I felt one too big, the next was much smaller. I always present these in chronological order, so the progression is observable. From top-view, the final result is like a relief map.

The second series is my thesis work of 120 objects, made of white marble. Working with tools and stone taught me that the form is completely material dependent. When carving, I go under, going into a separate world. And the objects generated a language with grammar and words, of which sentences and poems could be edited.

In my childhood I had a lot of sports to be fatigated for the evening. The art school was an idea of my mother. That was pretty unusual for, except her, everyone in the family was an engineer. One afternoon she grabbed me from the basketball training to get into the prep of the art high school. I did not have my glasses. I had to draw a wire box; of course I did not see any of it. Finally, I was enrolled to the graphics major, but I went into the sculpture course in the second year. I was the first student. I was very near to the stone. According to others,I was born with beard and chisel.

After the safety of the university years, the question was how to proceed. I gained some time moving to Poland. I lived from restoration. This is in a high level there. I returned home after two years. The first important thing I understood here was to live according a time management.

For a month I moved to the mountains, to a small forest house. There was the samizdat printhouse of the (illegal) opposition in the eighties. It was three years ago. By working, I am experimenting with what makes the material to a form. Abstract forms need not to be consistent with nature.

If I remember well, I made my first woodcarving by the campfire. I just took a piece of firewood. A statue need not have a story. When I work with stone, I feel like a reincarnated archeologist, receiving a message from the past.

I work on multiple projects at one time. The pieces for the Autumn exhibition will be made of polyurethane. But I continue to work with the wood figures of the „Monstrum”. First pieces of the „Alien, the Extraterrestrial” series are made of plastics for the time being, but I am looking for using metals.

I have started a new series: to create 1000 pieces of palm statues, of Tardos limestone. If one piece is sold, two more has to make. Since it is unforeseeable when it arrives to someone, creating has time gaps. In this case I assume these time shifts. If all of the thousand pieces are done, I am to publish a catalog of the series, containing not only the photos of the objects but the name and town of the owners.

“Rocks ” series (2019)

porcelain

“The big rock 1-2” 24 x 14×14 cm és 28 18×17 cm porcelain

“Black rock 1” “White rock 4-5”  19 x 12×12 cm (különféle méret) porcelain

“Tower on the rock 1-2” 16 x 15×10 porcelain

“Eisbergs 1, 2, 3, 4” porcelain

Rocks 1, 2, 4 porcelain

Rocks 5, 6, 7 porcelain

Rocks 11, 8 porcelain

Rocks 10, 13 porcelain

Rocks 9, 3 porcelain

Rocks 12, 15 porcelain

Rocks 14, 16 porcelain

Rocks 18, 19 porcelain

Rocks 17 porcelain

“It is exciting to me how to think effectively on the space. I consider myself a sculptor, but I paint with the same energy as well. My paintings are rather sculptors too. Sometimes I colour my sculptures. The two artistic forms always interact.”

He is enquired on his statues on public places, for we want to understand the form of the Salgótarján 1956 memorial, almost floating on one fixed point. „I wanted a talented solution, how is possible to disagree with the laws of statics. You cannot know whether the man is to run escaping or to fall“.

An other enigmatic work is the Karl Lutz memorial in the Jewish Quarter of Budapest., a flying man in a ribbon. The Swiss diplomat helped to save 62,000 Jewish people. The Gypsy Holocaust Memorial in Budapest is a “peephole” statue. The black triangle of shiny granite column is a symbol; the triangle marked the Gypsies in the concentration camps. The gold-plated inner surface of the statue is “glowing” as from the fire of crematoriums, behind the tongues carved into the granite we can see only a piece of a golden, crippled people.

The Százados street Art Colony, in suburban environment, next to the football stadium is 100 years old this year. Our imaginations are wandering: what life was here before. The buildings want renovations badly as well. He lives and works here. We are almost in the downtown, but you feel free to hammer the metal, to carve stone, to cut with chain-saw.

In the studio there is little evidence of classic sculptures. “In 2005, full with the previous aesthetics, I am through with the statuettes

Slat-irons and wrought iron nails came. He looked for new plastic ideas. Although the rivet-heads are nicely gathered, …

“… I am just at the beginning of the working out this form system; I have 10 years’ work at least.”

The riveted figures were inspired by the Tisza culture of 7000 years. “I found this beautiful idol of large bums in the Tornyai Museum.” Just now, a part of this series of wood and aluminium is in Moscow, at the joint exhibition of the MORF group.

Each sculpture has a special message. The statue of Kazo (el Kazovszky) is accompanied even by his dog. I hope we can once wander in a forest of statues together.”

“The world is approaching to the brutality.” Perhaps after African antecedents, these heads were made in 2009.

“I like to do what I do; I come to the studio, I do my work, then go to bed, get up and continue. If I walk out of the Art Colony, the problems start. I need to buy tram tickets…”

15/6/2011 Budapest