In my childhood the reality was so important to me, that I had a diary, and I tried to illustrate my adventures as climbing down to cellars, investigating cock-lofts, swarming up to cliffs, crossing rivers. Maybe this was the first step to my artistic career.                                                                                                                                                .

Having been a teenager, I was impressed by the interiors, decorations, icon paintings of the Szentendre churches, so I made antiquity-looking objects.

Although I never wanted to be a painter, later, having met the history of the ‘modern’ painting, I started to paint using the styles of my preferred grandmasters (Monet, van Gogh, Paul Klee, René Magritte, Dali, Marcel Duchamp, Lajos Vajda). I created ‘Edwinist’ pictures (Edwinism: wind-blown flag when the wind is not blowing). I met László feLugossy, who was thinking about the things just as me, turning into my creative partner for many years.

In 1968 we jointly displayed our pictures on the wall of the castle hill, Szentendre. We created the first outdoor exhibition, repeating the event on the first October Sunday of each year for ten years. This event attracted there many self-taught artists (painters, sculptors, musicians, writers and poets), some of them moved to Szentendre. As a result, the Lajos Vajda Studio was established there later.

In the summer of 1969 I organized a performance-type show named ‘Nalaya Happening’ to commemorate the ‘entering of an idea to the lock-hospital’. The ‘idea’ was feLugossy, who escaped from the compulsory military service using the method of beer and sedatives. I, as a young Dadaist that time, reckoned all of my acts and gestures to a work of art, so it was matter-of-course on my part to respond to this case as well.

The proposed twenty-minute presentation returned to a police action, ended in a six-month remandment. The totally innocent performance, born in the spirit of the Dadaism, was transformed into a ‘premeditated vandalism in group’, thanks to the nightmarish schizophrenia of the given historical era (1970). Of the participants ten were sentenced.

This event made domestic sensation, even the foreign press dealt with it. We became a political issue, involuntary resilients. We realized that there is a cultural politics. So far, I did not even think to ask permission from anyone for anything. We were informed that this is impossible. We need to notify all of our plans, and they will help us. And so it happened. The Institute of Public Culture considered our open-air exhibitions, our meetings received rooms. The Lajos Vajda Studio was established in this way at the most beautiful cross-vaulted cellar of Szentendre, active even now.

We organized there more than 500 exhibits in the past 40 years. At the seventies, it served as venue for uncountable avant-garde events. The intuitive-associative-improvisative noise ballets of voice therapy were developed there. Our Bizottság (‘Committee’) band played there many times, and it was the well-known hangout in promoting the performance style. This cellar serves as workshop at times, too. The resin sculptures at the post office were made here in part. Several times I had individual exhibitions in this legendary place.

With my pictures and statues I want to awake in the viewer the thoughts, what even myself do not think. This features my symbolist-surreal works. Motifs are ringed in endless variations. Sometimes I feel like to paint one picture along my whole life. I like merging the antipodes, placing them side-by-side. For me, a timber-saw lying at a watering can is a jinx, while a hole in a coffin is an optimistic action.

13/8/2013 Szentendre

I attended my high school in Budapest. The quarry tiles and terrrazzos at the staircases of the century-old tenements and mansions always enchanted me. The French and Spaniards are still in debate, who was the first to produce cement-based floor tiles in 1883. In this country it was widely applied, then the production almost completely extinct, the source now is the import. .                                                                                                             .

At the University of Art and Design I started to study ceramics. I wanted to deal with the cement, and then I went to the Institute of Applied Arts in Sopron. János Probstner invited me to the Ceramic Studio at Kecskemét, where I could make experimental works. I could work freely, and even my diploma piece was made in this issue.

Thanks to the ‘Kozma Lajos’ Craft and Design Scholarship, I quietly worked on this topic on an even keel, but I did not find a contractor to manufacture. The terrazzo manufacturer applies a similar technology, covering the base of the tile with stone chips, and then grinding the surface after setting. They offer a small assortment, mainly for public buildings. There was nothing to be done, we cleared a corner of a barn at the outskirt of my village, and my manufactory started.

Our cement tiles are hand-made. Quality is very depends on the raw material. We already tested all of the quarries. It is difficult to find a continuously reliable source. We use finely ground limestone. At break of day, it is funny to see the traces of the animals visiting us.

The surface of our cement tiles is made of fine slip, and completely smooth. At a first glance, they resemble to the Mettlachi tiles of fired ceramics. But, the cement tile is more exciting, unique, and it has a piece of eventuality. The assortment of patterns and colours is infinite. The surface is natural and not brittle, good to walk on it. I like its matte satinity, possibly I have phobia of the bright tiles.

I collect old cement tiles, researching the Hungarian culture of patterns. Sometimes I feel guilty for I think some of my motifs are too oriental. For this reason I was very glad to find an old pattern (mined out of a demolition), very similar to one of our pattern, named ‘fifties’. The ‘Art Nouveau’ or Jugendstil style is close to me. We have a collection using metal insets, but to apply it we need a more sophisticated technology and investment.

It is difficult to decide on the size, turnover and expansion of the manufactory. Orders keep coming, but we can produce more. I am full of plans, but the time is limited. My daughter, Borka, is 6 months old, she is a fairy, she suffers gladly I am always working.

Using computer-based tools published on our website, our customers can design the colour patterns according to their needs and taste. Sometimes we receive fairly funny plans. At the end of the shift, the ’boys’ compile their own design using the remainder colours. Successful pieces give the „leftover set”. It is a real bonanza.

I had a phone call from the US. I did not catch his name, he said, he would buy tiles. He possibly found my works at a collector’s website. When imagining that we would forward tiles beyond the seas from here, my environmentalist ego strongly protested. There are a lot of good manufacturers in the US, buy there, I said, and hung up. But he called again and again.

Then he asked me whether I knew the director of “Control”. Because he worked with him. I thought he surely was a second cameraman or so, and I was still not impressed. One evening my brother was surfing on the YouTube. Suddenly, I hear the same voice as on the phone. Hey! Who is this chap? I am talking with him the last three weeks.! It was Matt Dillon. Finally, I made the shipment to his Manhattan apartment.

1/8/2013 Padragkút

In the seventies a bright future was predicted for the mining town Tatabánya. A housing project of block of flats covered the one-time swamps of Sárberek (‘Muddy-grove’), and civil cooperation excavated the boating lake. A world has turned a big there. When the Millennium (year 2000) arrived, the local government dreamed a deserved statue into the charming little island at the corner of the lake.

“In this way, my sculpture ‘Prince Géza with István as child’ (1) was placed there. A father and his child, it is far away of all stereotypes, and even further away of the attired figures of the usual solemn, elated moments. To settle the orientation I. Kovaliczky, astronomer helped me, because the sculpture is a sundial as well. The columns present the winter hours, while the stone slabs display the summer ones.” (1) István became the first king of Hungary

“The next town, Nyergesújfalu recently decided ordering a new statue on the pedestal of the WWI heroes. The reading committee disliked my plan ‘Pieta’. They did not understand the metaphor of the torso legs, while I did not understand what kind of pain is reflected by two unimpaired legs flailing. My sculpture ‘Seed-sower’ was refused in Szombathely, too.” .

“The shaft #15 is almost at the end of my garden. The mine was closed long time ago. In summer, a few sculptors are gathering here. Receiving waste steel pieces from the ASG plant, we let our imaginations work freely, considering the laser-cut holes and the amorphous forms. The ‘Gate Guardian Lion’, the ‘Car with Harp’, and the ‘Homage to Giacometti’ became the decorations of my garden. “

“I have commuted to the College of Győr for 17 years. I see the landscape, the Danube across a peephole. Along the way, I have enough time to contemplate on my disciples. I profess arts for will-be school-teachers. I have to manage with a sense of humour and due deliberation the shortcomings, with which the students come to us. “

“My doctorial thesis was written on the Expressionism. The subject forced me to analyse my own work and artistic conception. I formulated that I follow the semi-figural abstract style. It is not specifically expressive, for I use structures, but not even a rigid constructivist. Somewhere in-between.”

“I apply the ‘wax losing method’ to create coins and statuettes. So I can use anything as models, even a dry piece of bread. “

“I am preparing three new pieces for an exhibition: Figure with Rod, Figure with Stick, and Figure on Slope. As a hara-kiri, or an endless suicide? On a sketch I called them so: confession on the existence. “

“What an absurd idea to face the future end of our existence. We, human beings are even aware of this. Having this painful acquaintance, our existence is staggeringly beautiful, being unique and unrepeatable. But I think that is why our experiences are so beautiful.”

23/7/2013 Tatabánya

When 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.

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.

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.

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.

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.

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.

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.

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.

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

I am greatly inspired by the world of artists’ colonies. I am present at at least five-six artists’ colony a year. I met the horses there as well. Everyone rode; there was nothing to do except to try it. The experience and my first horse had a so strong influence that I can not give up my oil painting depicting it.

.

I am interested in the scenic problems, and the colours. Van Gogh and Gauguin influenced me at most. I do not believe the scholastic treatments that the relation of the complementary colours is the most important.

The cool shades are closer to me, but I deliberately leave out smaller spots for the warm colours. If these are more, the picture becomes over-define. The much red colours make the Nagybánya landscape unrealistic, even if the hillside is full of red cranberries. Preparing myself to the Hungarian group exhibition at Beijing, I was called that I had not sent enough pictures. Having no time, I painted lot of red coming out of me.

The landscapes, the sceneries affect me. I omit all of the trivial things, cars, and traffic signs. Be the picture more general, more ageless. I endeavour to use sketches.

To bring up emotions and memories, I convert the landscape freely, not exactly in accordance with the facts. Your eyes will notice such details, what do not appear in a photo. The camera records such perspectives, what we perceive differently.

I like the plants, so a tree is exciting for me. In bare form, because it loses its individuality if the leaves obscure the branches. Its trunk and branches have character.

Last year I painted several fruit trees. Apples were on them, rarely leaves.

I had some favourite subjects: pubs, dancers, horses, but I am unable to think on series. I am not motivated to do so. I can absorb myself into a work in such a way, that, finishing a picture, I exhaust, being unable to warm up again. I did not want to be driven by the routine.

I wish to return to the portrayal, but it is difficult to find an appropriate model. For me, it is important that the model be well-looking and I see him nice. Have something mysterious, something to decipher. I like to see behind the curtains, I am interesting in hidden things.

The composition is the predominant. I select the elements as the picture and the proportions dictate them. If something is necessary, I paint it to the picture. If something is unfit into the composition, I leave it, so the dog has three legs, or the chair has two.

I painted thickly before, but now I prefer to create a picture for a long time. I am constrained to work out the small spots.

Difficult to answer why my recent pictures are so strong and intense. Perhaps caused by the lack of opportunities. Nobody appealed what I made. It is a reaction to the fact that the opinion leaders in art do not recognise me. Oil paintings are considered obsolete and backward. ‘Painters are hundred years behind’ — they say. Critics award the brainstorming, appreciating the provocative. Contemporary galleries follow the foreign trendy. Painters and collectors are few who are thinking like me.

To comment a visit:

The paraphrase of Botticelli’s ‘Primavera’ was made in the Arboretum of Jeli.

He studied non-figurative painting, but always interesting in the reality. He is using the body cast either its positive or negative side, then he paints it with oil.

His first studio was in a dilapidated loft. A mortar box, used at the refurbishment, contains the ‘Kőmíves Kelemenné’ (1)

(1) The ballad of Kőmíves Kelemenné/Ms.Mason is about a woman who was walled up in the fortress of Déva

Everybody sees in such a way, as we see the woman of four eyes. If you put the plate behind the head, and the head itself is very close to you, a double vision is developing.

Awards:

Kismartoni tanár úr rajzom fölé hajolt
Szabady tanár úr az osztály előtt megdicsért
Művészeti Gimnázium rajzverseny, 1959., I. díj
Művészeti Gimnázium rajzverseny, 1961., I. díj
Művészeti Gimnázium rajzverseny, 1962., II. díj
Sopron, „Türkiz Diploma”, 1962.

Képzőművészeti Akadémia, 1969., megosztott I. díj
Forradalmi Hagyományok, 1970.
Tanácsköztársaság Évforduló, 1969.
Képzőművészeti Lektorátus, Gobelin pályázat, 1973.
Lenin évforduló, Műv. Alap, 1970.
Derkovits ösztöndíj, 1971.

Dózsa pályázat, 1972.

Stúdió díja, 1973.
Hazám pályázat, 1974.
Munkánk a holnapért, 1975.
Honvédelem II. díj, 1978.
Ösztöndíj, Brüsszel Royale Akademie, 1978.
Marx 100. évforduló, 1983., II. díj
Gödöllő Egyetem, „A Föld”, 1986., I. díj
Zalaegerszeg, Sportcsarnok, 1988., I. díj
Hódmezővásárhely, Őszi Tárlat, 1996.
Hódmezővásárhely, Őszi Tárlat, 2005.
Hatvan, Magyar Tájak, 2004., Bronz Diploma
Szolnok, Tárlat, 2005.
Hatvan, Arcok és sorsok 2005., Arany Diploma
Szeged Nyári Tárlat, 2005.
Vasszécseny Díszpolgára, 2009.
Pro Cultura, Újbuda, 2010.
Szombathely, Dunántúli festők biennáléja 3. díj, 2010.
Koller-Díj 2013

Short remark on the birth of an object

The word ‘sculpture’ has an antique meaning: make God or a thing what God pleases. To find the inner sphere of the body: this is the essence of the modern sculpture.

The sculpture is like music. There are many not understanding contemporary music, but in the future everybody can understand it.

Since 1988 he has worked in Gundremmigen, Germany, but he regularly returns home to visit the International Ceramics Studio, Kecskemét.

30/6/2013 Kecskemét

Munkácsy Award 1990

Lírai, egyre inkább nonfiguratív képeket festettem 2005-ig. Aztán olyan mondanivalók gyülemlettek fel bennem, amelyek közvetlenebb viszonyban voltak a valósággal. Eldöntöttem, hogy a konkrétabb természettel fogok foglalkozni. A képen megmozdult a látvány, teste, aromája és illata lett.                                                                                                                       .

Nehéz ma a festőnek a reális, figurális ábrázoláshoz nyúlni: a fotó inflációs tényezővé vált. Óvatosságból először lovakkal egy térben megjelenő embereket festettem. Úgy gondoltam, a ló a „korrumpálódott” civilizáció, vagyis az ember és a természet (tisztaság) távolodó pólusait közvetítőként összekötheti.

Valamikor egységes kánon volt, mindenki tudta mi a „jó”. A kánon szerinti legjobbakból lettek a mesterek, természetesen őket követték a tanítványok, akiknek a műhelymunkában adták át a tudást. Ma ez másképp működik. A szellemi forradalmak sorra megtagadták a régit, így a festők szorongásos állapotba kerültek: mi van ha mégsem érvényes, amit csinálok?

Történetekkel és színekkel szólok. Azt kérdezem: Mit kezdjünk a világgal, ahol valamiről mindig le vagyunk maradva, az akarat folyton meghaladja a valóságot. Gépek és tükör által próbálom kifejezni a múlt-jelen feszültségébe rejtett mondanivalót.

Az emberek szeretik elkerülni a konfliktust, a kényelmességet választják. Nem akarunk a kínpaddá vált színpadra menni. A személyes élmény direktségének elvesztése árán, kívülállóként viszont szeretjük nézni a cselekmény alakulását. A festményeim értelmezéséhez kell elszántság, hogy végig menjenek az úton, de vigyázok arra, hogy ha poklon át is, de pozitív legyen a végcél.

Néha csak a kézzel és lábbal, vagy bármilyen testrésszel ki lehet fejezni, amit akarok. Nincsen ábrázolási kényszerem, hogy testet is rajzoljak mögé csak azért, hogy bizonyítsam, azt is tudom. Egy ponton el kell tudni engedni a képet.

A fogalmi nyelvet és a látvány általi kommunikációt össze kell fogni. Megtehetjük, hiszen ember találta ki mind kettőt. A beszélt nyelv ugyanúgy, mint a vizuális nyelv a hagyomány része és az útkeresés eszköze is egyben. Egy látványnak az emberi tekintet adja meg az értelmét, az, hogy milyen képi emlékek, gondolatok kapcsolódnak hozzá.

Amit az egységes vizuális kultúrához tudnunk kellene, azt ma nem oktatják. Mégis, jó lenne „képben lenni” a dolgainkat illetően. Vegyünk elő egy lapot, ez legyen az életrajzlapunk. Osszuk be időre, történésekre, vázoljuk fel életünket. A vonalak gesztussá olvadnak, ezáltal értelmezhetők, visznek valahová.

Általában képeken átívelő témákban gondolkodom. Utolsó kiállításomon az emberi- technikai kapcsolódásokkal és az informatika által szabályozott viszonyokkal foglalkoztam. Az egyetemen sokat rajzoltunk modell után, tanulhattunk anatómiát. Belémrögzült egy testtérkép. Alak festéséhez nincs szükségem konkrét modellre, érzem, mikor billen a figura harmóniája vagy bomlik a látvány. Önkéntelenül rántom helyre a vonalat, mint az egyensúlyérzéke által vezetett biciklista a kormányt.

Sokat dolgozom, és időnként elérkezve/felnőve egy-egy gondolathoz, újra ugyanazt érzem: tényleg el kellene kezdeni festeni!

28/6/2013 Isaszeg

“Dress designers prefer to work for size of 36 or 38. In this country the size 40…44 is more frequent, and the comfort has the priority. Recognising this point, my goal is to create comfortable and unique dresses, while nice-looking even in any size.” How can be a tailor-made dress both comfortable and good matching, both trendy and timeless, both unique and socially accepted? The answer is in the material. .

We are talking in a high-tech environment. Not ostentatious, rational, yet special. Dark gray concrete surfaces, steel wires, natural wood paneling, thoughtful, proportional and generous space. In addition to the up-date technical design, shuffled just for surprise, classic family pieces, few small keepsakes, and some nice patch of colour. Plain materials, used imaginatively.

“For me, material is the first. Typically, I put together textiles of all kinds. The plain material is tamed or effierced by stripes and ribbons.  Even if a bright stripe is rising to view from the gray and natural colours, the suit remains reserved, and it assigns uniqueness to the wearer.

The cut does not have as much importance, as the textiles modified by the new concept. The wear, created by association of variegated materials, colours, and surfaces is really “covers” the human body.

The accessories have the same role as well. It is easy to upgrade a simple T-shirt or a bored top using a scarf or a vivid armrest. The point is the technique of the craft, producing quality, uniqueness, lasting values, and individuality. Making jewelry is a relaxation for me. It is my “blow off steam” therapy.

How to carry on the dress tradition? Pleating is regarded as peculiarly Hungarian. Our grandmothers both at city and country wore well-pleated frills on weekdays as well as on holidays. I use it often and gladly. Perhaps these touch of past causes the costume being reserved.

Graduated at the College of Applied Arts, I started to work at the shoe factory of Dunaujváros. I had an apprentice contract. After three years, we hardly had any job at the design department of the factory. For I graduated before as cloth and leather designer, and because I preferred to deal with textiles, I started an own business. I am making custom-made textiles and dresses.

Her creations were presented at fashion shows in Paris at the Louvre, and were exhibited in Vienna, New York and Tokyo. What is more, at the international fashion competition of the UNESCO in 1995 she was elected to the narrowest circle, as one of the world’s top fifty young designers.

17/6/2013 Telki

I had no idea what to deal with. I learnt Japanese at the high school, and writing was the closest to me. I thought to be a writer, so I applied to the Budapest University of Sciences, with major of Hungarian and Japanese. Finally, the Japanese major did not start. I suffered along two years at the university, until my family suggested to change. I have always liked to sew, and I enrolled to a training course. Meanwhile I trained myself at a drawing school.

At least, I was admitted to the University of Art and Design (MOME). I selected the leather major. It was a good community, the teachers were excellent, and I liked going there. We learned a lot about design, but, unfortunately, I knew a little on the profession itself.

Once we got a task: to select an exhibited object in the Museum of Arts and Craft, and to create a new, reinterpreted one based on it. I selected a hexagonal small bag, fascinated by its form only. I like origami, so I solved the task with folding.

“When entering the”Gombold újra” (“Button It Again!”) fashion talent competition, I worked on my “Motiva” series. Folding flower forms, I used the experience gained with the hexagonal bag. I was in the best 20 in final of this competition, and what is more, my bag was selected for the Hungarian Design Award exhibition.”

“I create a collection of 5 forms, compiling in two different colour sets. Always paying attention to the general aspect of the shelves, either selecting pastel shades, or tailoring of brightly coloured leather.

Preparing for the “Gombold újra!” competition of this (2013) year, I have experimented with the clear-out design elements of the Budapest metro stations, created in the seventies. Instead of the ‘Hungarian folk’ motifs, ‘urban’ themes are closer to me. For my ‘Metro’ shoes, I got inspiration from the colour plastic chairs. This year I am again in the finalist’s row among the „newcomers”. The competition is a close fight, for there are the representatives of the “old hands” as well.”

The famous Heinrich ironware store was in this hundred-years old house. Later it was converted to an office building. Due to the economical crisis, the new owner halted the reconstruction. Rented by a group of young artists, one floor was transformed to the Heinrich Creative Level. “ I am glad to find this place, renting this room” she says. “Looking out of the wimdow, it is especially good to see the university facing me”.

She already has a workshop, the profession confirms her talent, her diligence is coupled with patience, the market is interested, and there is desperation. But the enthusiasm is not enough, if you cannot get information on the trade, if it is impossible to find connections, and if the young people can obtain hundred-years old, offcast machines. “ After all of my unlucky purchases, my sewing machine works outstanding. I have a classmate whose only fourth sewing machine she bought, succeeded to work, at least. You must be pleased for every little outcome”

14/6/2013 Budapest

.I was born in Budapest. My mother is German. I was two years old when we moved to Germany. After the maturity and a basic art course in London my father suggested attending the Budapest Academy of Arts. I returned to Hungary in 1989. The level of the art education attracted me, being more classical as in Germany that time. At my academy time I painted expressive abstract images. Around 1994 my gestures became empty. My visual world underwent a transformation. I wanted to learn thoroughly the painting.                                                                      .                                                                                                                                                         .

My present figurative imagery bases upon this decision. I have painted still lifes in winter, landscapes in summer. I choose oranges. These are simple objects, at a first glance. I studied their shapes in light, in backlight, with white background, in white environment. That time my landscapes were made outside, “plein air”. Later I started to use photos as well.

In my visual perception I can discover some relationship with the one of Caspar David Friedrich, painter. The pictures of this important artist, representing the German romanticism of the 19th century, are pervaded by the transience and melancholy. He mainly painted landscapes, sometimes with ruined churches. In the scenery people appear as figurants, but they are the in the centre of the pictures, presenting the human relations to the God and the Infinity. The turn-away figures, frequently depicted, have symbolic meaning as well. In my latest series I deal with football courts, players, and spectators. In several pictures I depict turn-away viewers, I am impulsively attracted to this solution.

Apart from the abstract expressionism, the minimalism affects my work. Despite the figurality of my pictures, you can detect some abstracting compression there. Each theme is maturing even up to 5-10 years in me. I do not start a new series until exhausting an idea. Themes were varied, but my partially structured, partially free compositions remained. In my ouvre these two poles costitute a basic tension.

Studying the Margaret Bridge I noticed the barges, and later I had thoroughly a look at the barges in the large Duisburg port. The water is flickering a little at the dark hulls, just as in the reality. I recorded the whale-shaped ferries filled with cars at Amsterdam and Zeebrugge. It is said that my German origin is observable, for I paint Northern lights. Maybe, because I noticed the barges at North, but not of my family roots. As an experiment, I transferred a container barge, seen at Duisburg, to the Danube. The water became warmer, brown and green; the sky is not so white, plausibly it is in Hungary.

I have regularly traveled to Germany. Staring ahead, sitting at the wheel. Once the lansdcape flashed along below the shining sun, once the wiper smeared the dirt on the windscreen, trucks overtook the others, highway bridges came and went… One afternoon I drove along the Rákóczi Street. Across the dirty windscreen I recorded the street together with the Klotild Palace. I made a painting from this photo; this was the method of creating my highway and travel pictures.

The home-window series started with the autumn birch leaves, glittering at my kitchen window. Window-posts are dividing the wiev, and create a distance between the spectacle and the spectator. I painted blocks of flats as well, a pine branch sagging from left. Maybe a little Japanese flavour. I like the large pictures, producing a kind of movie effect, they almost swallow you. I paint several pictures parallelly, not to get tired to work on one, because this way the picture could be unanimate.

I was engaged in the window series, when we were accomodated at an artist’s colony in Slovakia, where were two soccer fields. I was caught by the abundant greens, by the contrasts of the plants and geometry, and the colourfully dressed players. Instead of window-posts the guard-net poles are appearing.

Through the soccer players, I started to paint people. It seems to be as figurants, but their positions on the field are meaningful. I did not paint the heroic or sporting side of the football. In the multilevel space the wiev is generally static, perhaps reflecting the social relations. For example, depicting rigid figures in a picture, the dictature of the bureaucracy came to my mind, so I gave this as a subtitle. Anyway, I like to watch football. I was in trouble when Bavarian (with a coach of Barcelona) met with Barcelona. I really did not know to pull for which team.

20/5/2013 Budapest

“The glass is always a surprise. Its artistic value is given by its uniqueness, the proportionments, and the relationship of the materials. This cube is made of a specific glass of high refractive index. The light travels at low speed inside the glass, so at the breaking points it decomposes to the colours of the rainbow, later multiplicated inside. Actually, the cube is a mobile sculpture, except that you have to move.”

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There are many different ways to show the beauty of the glass. At the seventies he dealt with Tiffany lamps, but he created lamps of semi-precious stones as well. All of them were jury-accepted. After engaged in the Baroque, Art-noveau, and Art Deco, at the nineties he has got to the abstract geometry and to the sculptures.

“The artist is playing with the glass an optical game. The question is, how you can present the transparency. For example, what can you do with two of sphere quarter? You can work with these for years, because the infinite number of variations.”

A basic idea is followed by a series of modeling. At the end of this process, there is the miracle, what you only hope. Sometimes the result surpasses what you expected. Before the exhibition opening nobody may see it. Anyhow, minute details can exaggerate the interest of the visitors.

If an object has an inscription, it becomes a glass trophy. Since the nineties he creates prizes, either simple ones or sculptures for all kinds of occasions and for all kinds of firms. Recently Spielberg received a prize that I made. A firm as well ordered this speaker.

High level and optical glasses represent a serious value in itself. There are optical glasses of 200 types; each of them has different properties. Special equipment is necessary to process them, mainly used in the industry, when an exact cutting or a perfect surface (e. g. of a sphere) is demanded.

I am thinking of the glass as a sculptor. It must have something to say, without the domination of the inherent beauty of the glass. For me, the simplicity, the form, and the proportions are dominant.

A sculpture of glass not only a nice object but something full of surprise as well. No other material can produce such a spectacular vision, depending on its outside and inside, shiny or matt surface, colour or colourless. That is why that the range of collectors is expanding every day.

11/5/2013 Diósd