My grandfather lived in a small village of Gesztely, at the bank of the Hernád river. Once he went to the bar, and asked, who had a loom. In olden times every house had a weaving loom in this region. Somebody had a walnut-made one in the loft, at lest 100 years old. Just had to replace some pieces. This time I was at the university.

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Just at the entrance, a four-warp loom. “Comparing this to the new types, they knows more and it is more comfortable to work with them. For example, these can spin up the warp end. Normally this warp beam contains thread of 60-100 m long. I bring the warp beam to Pápa (a town in W Hungary), there is a weaver master, Péter Lőrincz. After I made the dyeing, he reels the thread with his devices. He teaches, as well as produces and services looms.”

“Using the same warp beam, you can weave countless colours and patterns. Wefts of various colours can produce different colours and tones, while effect woof threads cause special surfaces. This is the bouclé thread; I made it at the thread factory, a decorative filament is spun around the basic thread. “

“Apart threads of cotton or wool, I use elastic Lycra and water-shrunk ones.”

“I wind the weft thread with this old, converted drilling machine. I must care with this shuttle! Sometimes it flies away. Its tip even perforated the floor tile as well. “

“I vary the types of weaving, for example, the twill or satin. But, I make ikkat as well, colouring the warp end. I make wall carpets by rag weaving. I use a full of warp beam in six to eight months.”

“I graduated as fabric and fashion designer. Before I received my M.A. (Master of Arts) degree, the industrial background vanished. I had to solve anything from myself. I am designing, manufacturing myself, and I must also take care of the sales. “

A mag

The self-made fabric has a great advantage: the material and the form are produced together. I know where it should be cut so that the cloth is served by the weaving. Hand weaving comes together with the minimal cut. Each culture had its simple cut lines, that is, the veil-type cloths formed by folds. Greek, Persian, Indian costumes are taking on this base.

These pieces have their seasons, and sometimes folding is not fashionable. Using a leftover piece of homespun textile I can perk a simple, everyday piece up. I make showpieces as well. Brides, looking for wedding costume, come to me not for a white crinoline. I set up a costume of layers, which can be worn later at other occasions.

It is difficult to characterize our dress culture. Sure, the costume reflects the wearer’s self-knowledge and self-confidence. We are not well in this both regards. The Nordic countries exemplify succeeded to apply their traditions in dressing, in house culture, and, generally, in design.

25/4/2013 Telki

“I wanted to be a racing driver. My aunt said I had to be a shop assistant, but the family voted against: I was too thin. My mother took me to the printing office, but they needed typesetters only. It was no good as well, for you get sick lungs of lead. The printer suggested trying the Arts and Craft High School. It turned out that the term began, but I could take an extra entry test.

“After the war, the best artists came there to teach. The school had a good atmosphere, we were friends supporting each other.”

“We needed no looking for orders. Before a film was introduced at the movies, the state-owned film company called us to create a poster. In downtown Budapest, there was a small screening room, where we can see the film helped by an interpreter. It was all left up to us. They had a say in the matter if the money was limited: make two-colour prints!

We made a lot of posters. The printers did not care about anything. The paint was flowing on the floor, they printed on second-hand paper, using the back of the sheet. Only political posters were made of better quality.

Computers killed the graphic art. I designed a wine label for a famous winemaker. He liked my design, but the printer did not accept my colour separations, asking digital bitmap files. So I broke with drawing, and retired.

You need always to do something. I make my sculptures of packing material of household appliances. To carve this stuff is not a pleasant work, but I can do at my desk. I do it for myself, and I enjoy it.

My statues have a Chinese influence. I like the Chinese literature. It is genial, structurally differs from the European one. I watch Chinese channels on the TV, even if I don’t understand the text. Western people do not pay attention to human values, being interested in the money.

You always have to deal with what the time dictates. I am a real picture-addict, just taking photos. I am shooting the women from magazines, seeking mainly historical characters. I have got a computer from my son, storing my pictures to there. The good photo contains the soul, so it is human and authentic

People project their egos unconsciously. They think they alter changing something. But the soul cannot be changed, because the soul comes of the ancestors, of the family. For example, every child of today knows that he lives badly. For his environment tells it to him.

“That time my father was expelled from Czechoslovakia, because he identified himself as ethnic Hungarian. We had nothing at home. We received an emergency flat of 5×5 m size, in a freaky yard of the Main Street. It was totally empty. There was a hole in the wall for the flue. We went to shop to the nearest grocery. They even used a tipper balance, also giving credits. I was a small kid, knowing Hungarian a little. But our parents never told us that we are living badly.”

The nice afternoon is filled with contemplation. Do you need to accept anything what the well-paid scientists say, just for they have a good brain? Is the art a bunkum really? How the human taste can change? May you paint icons just for fun?

“People do not deal with the basic things. There are two things you may not know where to be: the soul and the God. When Moses arrived to the mountain of God, he asked God what to say to the people, who he is? What is his name? He answered: ‘I am who is’ “

14/4/2013 Budapest

“How old is the domestic art of forging? I’ve never thought about it. It started probably in 1963.” The book of Károly Bieber was published that time.

At the beginning of the last century it was quite a time to create wrought-iron handrails, window grates, and gates.

In the old times the church was in the centre of the village, the blacksmith was at the end. This craft was connected to the agriculture; they made wagon wheels, and put shoes on horse.

“I was born in 1951, under Pisces. 43 years ago I joined a modeler workshop. We made wrought-iron patterns for Austrian export. What they did not accepted, all we sold at the home market. That time the Artex and othed firms were engaged in foreign sales. I worked abroad as well, but I never thought to remain abroad, even if my grandmother was Austrian.”

I started to work at the workshop of Zoltán Pócs. He died in the eighties, but I maintain his sign above my entrance. The master had a huge prestige. If he received an official letter of the local government, he sauntered off to them as he worked, with greasy and smokey apron. The immediately sent back: “ It is all right, Uncle Zoli…”

In the house near to the Italian Institute, downtown Budapest, we carefully descend in a lightly illuminated stairs. In the vaulted cellar there are handrail samples, lamps and chairs. Inside the coal is glowing red, the hammer clangs on iron, a welding torch is sparkling. Dwellers were accustomed to this noise. This workshop is a part of the downtown life.

Budapest has many valuable relics of wrought iron. As he thinks, a lot was destroyed even in the last decades. At the renovations there is no documentation sometimes. “We need ourselves to find the right pattern. After many years of practice, we can reconstruct anything. A piece of the handrail is sufficient. We use contemporary procedures, for example, riveting.”

Our house was built in the 1920 years. Already five years I am reconstructing the wrought iron handrails, the gate, and the lamps. The glass lampshades were stolen. I made the globes blown at the Tokod plant. Since then, the plant closed.

At one time I had a lot of orders. When I made a gate, the neighbor came: How many leaves are on that gate? Thirty? Then made me one of sixty!”

Ten years ago he employed 4-5 workers, now only one. “ I came here in 2001. I saw several places, but this workshop has had a feeling, I liked the atmosphere, it is in the city, I like to work here “- says handling the cutter. Maybe this craftsmanship comes to the end with his generation.

Many prentices were here in the past, but they did not stay at this trade. There is no vocational training recently. “ I am not calm: you cannot bash a nail using computers. If I were born again, I become a smithy again. I am a king. It is a royal feeling to create something with fire.”

30/6/20112 Budapest

It is good to sit down a while, stirring a tea. She is to start fetching the kids at the school. The “Daily Guide” lies on the middle of the table. She gets a four-sided dice, asking: what is the message of the Board? “It offers an opportunity to concentrate my attention to the attitude of what the dice gives, along the situations occurring this day”. ‘Patience’ is the today’s result.

“Earlier I made a 2×2 m size twin of this object. You can hit words with throwing pillows. I collected 64 words, what you can heard rarely: road, virtue, delicacy, gratitude, responsibility… The visitor could ask the oracle, which guidance is provided by a given life situation, just having.

It was a pleasure to look how the people use this object, somebody threw with closed eyes, others suggested the table before throwing. One tried to take a sight on a selected square; the other threw backward over his shoulder.

I started to study the closings at the College, to prolong the time of discovery of the object. I provoked the viewer to deal with my object, just until he/she found out the clue, and in this way to personalize the object.

Later I created objects of personal use, clocks, simple music instruments, and various personal patience games. The patience games provide very good possibilities for mediation.

I like to produce objects, which call the viewer to cooperate. These can be interpreted if you throw something towards them, if you rotate an element, peeking inside or even patting. It is definite what you can do with them.

Recently I want to show the different moods how we can connect with each other in a relationship. The spectator according to his/her mood of that day can fit this sculpture, interpretable as a yin-yang motif.

At the Normafa (a forest in the Budapest mountains) I took imprints of the texts and motifs engraved into the trees. These healed wounds convey us the authentic history. They sneak on X and Y, trumpeting the eternal desires of teenagers. I took imprints from trees, marked with red marks, and designed to cut off. Long ago I heard a lecture, where the reader somewhat blunty asserted that there is no accidents but we are just immature.

Long ago I heard a lecture, where the reader somewhat blunty asserted that there is no accidents but we are just immature.

4/2/2013 Telki

 The ring means to us, mostly, a jewellery on our finger. It is not a real surprise if a cat’s tail curls around your finger. But it is a bit strange, if a mountain goat prances from your annulary. Their speciality is so compelling that both can be seen at an exhibition poster.

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“ I made two-finger rings, and palm jewelry. Then I invented all sorts of creatures.”

People liked them. Even the profession notice these successes. The uniqueness, the world of little creatures and gadgets capture the imagination. Especially if made of silver.

Precious metals were respected by all cultures. The same is in this country as well. But nobody realized that the official hallmark could damage the sculpture-like jewellery, therefore it must be destroyed. “I started with unique objects, and suddenly I found myself at a strange place, at the market.”

“I was fed up. I already made silver jewelry for table sets. I thought to apply the same design in a bigger size. Since then, I work with ceramics. “

He graduated at the University of Arts and Crafts with major of metalwork design. Fortunately, he was absent in the ceramic lectures where it was taught dogmatically that plaster and glaze should be kept apart. So, from sheer curiosity, he mixed glaze and plaster, creating an exciting surface, used till now.

“They say all sort of things what these objects bear resemblance. They refer to ancient cultures, but these objects are simply animals and figures born in my mind.”

“It is very rewarding to work with chammote clay, because it is stable, and I can try the impossible freely.”

Sometimes he returns to his original workshop, acting as coin designer. It was he who created the coins of 3000 and 20 000 forints, issued by the National Bank on the occasion of the Millennium.

A question: will he ever produce silver jewelry? He is creating it now, but of ceramics. It is true that only rarely, because few understand and appreciate the meticulous and precise work as well as the special glazing.

31/1/2013 Telki

“Fire roared inside the kiln. Working in pairs, we changed each other every six hours, but even in this way we were dead tired. For three days we stoked the firewood into Olsen’s anagama kiln. The wood firing needs endurance, skill and experience. You need to know, even to read the fire. It is not only art, but real craft as well.”

“I studied the high-fire lumber firing in Japan and in the US, learning the most from Frederick L. Olsen. Even my own kiln was constructed by his practice. Since this procedure is unusual here, I teach it at the university (Moholy University of Arts), writing also a book on it.”

High-fire ceramics were produced in the Far East first. The porcelain and the stoneware can withstand the heat of more than 1300 centigrade. Those taking care of burning the porcelain spotlessly clean put the objects into saggars (ceramic boxes). If the object is inside the kiln freely, to be marked by the traces of fire, the flying ash forms a greenish glaze on it. Firing in kilns, natural ash glaze was intentionally applied for decorating in Japan first.

This firing method, allowing broad possibilities in decoration, infiltrated step by step into the Western art. Who creating an object of natural ash glaze composes inside the kiln, painting with flames. As we stock the objects up, down, side by side, surfaces are partially covered from the flames, so photogrammetic spots are formed.

“While gas-fired furnace is firing the porcelain under controlled conditions, inside the wood-fired anagama kiln the situation is harder. Burning logs are falling, the flying ash gradually forms a thick, coarse layer on the objects placed in the kiln, at the upper zone the ash is melting on the surface of the vessels, while the flames mercilessly lick the originally snow-white porcelain. “

“Since this type of burning contains a lot of eventuality, it especially attracts artists who want to handle the material freely. My stringency originates in the constructivist traditions of the Central Europe. I succeeded to acquire my fundamentals in a media, which determined my worldview. Perhaps this is the reason why it is exciting that I work with this technique. “

“I like the extremes. I use the thin porcelain sheets as panes, constructing geometric objects of precise fits, which is unusual in the world of wood firing. “

“The brutal forces of the kiln animate the delicate, fragile structures. Fine touching when constructing, then orienting towards the flames the movements and colours of my constructions can be affected. But the final result is always unpredictable.”

“In this country there are few who makes porcelain by throwing on potter’s wheel, the bulk is made by slipcasting. The raw porcelain material mixed with paper pulp is strong enough; it is easier to work with. I made the 14-piece set of my Calvary as well as my embossments of paper-porcelain. If I want to maintain the cleanness and whiteness of the porcelain, I use gas kiln. If I want a more colorful, vivid object, I fire it in my high-fire kiln. “

“Cooperation was launched with the chef and maitre d’ of the Olympic restaurant. I produced organic-surface plates by natural ash glaze, which is totally unusual in the domestic gastronomy. “

It is really great experience to have a tee with the world-acclaimed artist She crumbles a piece of puerh tee, and I may select whose cup will be used to drink the tee of smoky flavour. I select the Olsen cup.

19/1/2013 Budapest

Read more:

www.nemajulia.com

.When I was a young boy, I made fire enamel. At home, I turned over the pages of the „Művészet” („Art”), contemplating what point I will become an artist. The prestigious magazine was well balanced, fusing social realism with popart. Yet its themes were uniform: there were dramas, sacrifice of Dózsa, fire, blood, war. My father subscribed this journal. He worked in three shifts, carving wood when returning from the uranium mines. He made this head of the devil.

Later I realised that everything was inside me. I need to investigate myself, dealing with trivial problems. Why I want to put together everything of small pieces, complicating all? Looking back my childhood, living in a housing estate, I understand now: I had wood cubes only instead of Lego sets. Perhaps because this bitter lack, I am producing now my own wooden toys.

I’m afraid of the colours, the stained glass is fussy. I was afraid of where I could be. For this reason, I am looking for extreme colours, let the red rage, make me upset, be very horrid! As in the colours, I look for the hardness in the forms and in the technology. Hiding a tear of a process means a kind of switchboard for me.

It is said there is no functionality in works of today. This is not true. At the University, we learned the constructive thinking, based on the Bauhaus. The title is important, just to start. As an introduction for a book. I create contrasts; let the sculpture move me, forcing me to walk around. I work out an idea, hiding inside the object.

On the land of volcanoes, at a sequola forest of the harsh North, near the coast of icy sea, where all began forty years ago. Joining to the „Studio Glass” movement, some experimental glass artists established the Pilchuck Glass School, at this magical place putting up Indian tents that time.

(with her wife Zsuzsanna Körödi glass artist as well)

Since then, a huge campus was constructed. Its role in the glass art is important even by international standards. Dimensions are incomprehensible. For example: 650 VIPs purchased tickets for the Annual Auction Gala, where 350 objects were sold for nearly one and half million dollars.

I succeeded to teach in Pilchuck as third of Hungarian artists, after Zoltán Bohus and Mária Lugossy. Half of the invited lecturers are from abroad, chosen among the grand masters of the world. Innovative feature of the School is that there are no wishes of ungrantable. Immediately repaired, searched anywhere in the world on short notice or constructed.

American students arrive there having high technical knowledge. Young girls can blow a glass hamburger of half table size or a giand dinosaur in a minute. They are professionally helped to make their objects in a best way. Our system is another. We ask first: why dinosaur, after all?

My course was „Free Geometry”. We searched for days the startpoints, how we can edit the cube to display Sex, Death, or any emotion. So we got to the point that one of my students portrayed the earthquake with a faultline crossing a glass cube, instead of presenting bodies lying around. It was a dramatic recognition for all of them.

He finished the Uranium series after the Line, Alien, and Rocket ones. One of them, titled “Hello CERN” (refering to the large collider) is in the MUDAC Museum in Switzerland An other is at the collection of Elton John. We are mustering the Uranium 2 now. Compared to the others in this series, this object is simplistic and corpulent. “To reduce the weight, I made only one layer of opalic glass. It is more difficult, but instead of 100 kilogram this weights 40 only. For today (21.12.12) on the “end of the world”, I must confess that this sculpture is not empty. I concealed a CD inside”.

28/12/2012 Budapest

Read more:

www.gyorgygaspar.eu

Joined to the workshop of a craftsman when I was fifteen. We produced glass eyes used by preparators and for lots of teddy bears. I had no admission to the Arts and Crafts High School because of overnumbering, they told. I graduated as glasswork technician, and I worked at the company of the Hungarian Academy of Sciences producing research hardware until the political transition (1990). We made laboratory tools chemical and pharmaceutical investigations.                                                                                                .

This firm was a prestigious one of about 330 people, mostly professionals of special expertise, led by an agile manager of both professional and business ability. Good markets were found for the special products made of stainless steel and glass.

I worked at the glass workshop until 1990, when a young entrepreneur forestalled the firm, everybody was fired, and the buildings were destroyed. It is clear: the site had a great money.

Some of us did not give up, we made our own company. Although not as large volume as before, we as a subcontractor produce laboratory equipments.

Using compressed air, or, what is better, oxygen mix, the temperature of the gas flame reaches 900-1000 centigrade. We are working on this temperature. The glass has a poor thermal conductivity, so it does not burn your hand. The paper shield is against the radiating heat only.

A small pipe blows the softened glass, after air-puff and with a smooth rotation a globe is born.

“There are 10000 types of glass. For the laboratory devices glass tubes or rods, specially tempered, are used. Mainly borosilicate, because in this material the strain generated by the heat on different points is better distributed. China can produce high quality glasses. We prefer these, for the limited effect of bubbling.”

“I often work together with applied artists. We mainly attain jewelry and custom designs. Here is a wedding glass, designed by Zsuzsa Vida, glass artist. It was an old custom that the vine for the bride was served in a bottomless glass. She had always to empty the glass, because it could not be put on the table.

I made this craft for fifty years, and I have continuously purchase orders. Unfortunately, I can not find successor. For this profession dedication, hard work, manual skill, an a lot of humility are needed. It is my ambition that this craft becomes an option at the MOME (Moholy University of Art). It is promising, and it would open a possibility to exercise manual activity in new fields

9/12/2012 Budapest

“We had an “iron-framed” piano at home. All at once, I closed the lid, it was enough of practice. We stored it at home for a while, then I got my mother to sell it, and to buy a TV set. So it happened. From this time I engaged in the visual arts. “ .

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I acquainted with Endre Lukoviczky, my husband, at the Danube riverside. Two days later he came towards me in the College of Arts and Crafts, where we were matriculated. Since then, we are together-

The College taught us everything. We learned to draw, paint, weave, restore, all kinds of mural technique. It was a closed world.

The most difficult is to put a point on the white canvas. I don’t photograph the world, but I want to express feelings. Art is an illusion, and through this we need to indicate a thought, to grasp its essence, and (if possible) to declare a truth.

Mostly I paint with oil. I paint three or four layers for months. Each layer is connected to a different experience and emotion. I work with watercolour if the fast technique, the freshness and the idea are important.

Tapestry weaving is like raising children: slow, monotonous and enduring work. Diligence is necessary. The monotony helps me through my hard times.

The Art Colony is a strange and fascinating world. The studio of a globetrotter artist is fairly beyond imagination. She could tumble on treasures what others leave behind. For her, first of all, the artistic and technical value of an object is capturing. Pennyworth memorabilia of forgotten ages turn on, what an expert can insert into a due ambience. And then these start talking.

Her continual eagerness, always get-upped, and her stories accompanied by broad gestures are fascinating. As if everything would go smoothly in her live. Just thinking one, and she makes an application for a studio in the New Szentendre Art Colony, in construction. Then suddenly she is invited to the US. Swedish trip coming, then a scholarship to Italy, other trips and exhibitions.

“We’ve always worked a lot. We are delighted what we have, frequenting concerts and theatre, we welcome our guests. And, we keen to follow the news of our profession, for the world is seen through our profession.”

2/12/2012 Szentendre

What would be better for a person than to find his roots, and to find the task of final importance? Cote d’Azur, the waves of sea five meter away from me, richness, easy life, sunshine, palms. A huge exhibition opportunity at the grand gallery of Menton, at the Palais de l’Europe in 2000.

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Exhibition surface of 80 m long, exclusively for me, for two months in the middle of summer. A lot of work needed, I borrowed many big-size textiles from home. The exhibition was a great success. At last, the lorry arrived, and I had a strong feeling: I am homecoming! Filling the lorry with my works, I put on my loom as well. It is very good around me, but not my cup of tea. Saying goodbye to everybody, I came home after ten years.

Become exhausting in France, I needed new impetus. I went to Transsylvania, where I was not before, even if my mother was born in Nagyvárad. I wanted to go West, so Transsylvania did not attracted me. Before 1990 I was prohibited to travel to the West because my family members were ’dissidents’.

I wove all what is in the Nature: wheat fields, spring meadow, birds, trees, flexures of rocks, volcano. For the Millennium I made the strongest tree of my life, with huge and dense roots. I started to look for the roots of thousand years. I met the country of Balázs Orbán, the beautiful scenery, history of Transsylvania and the Székely Land,

Sándor Körösi-Csoma started on foot to the faraway East, amidst hard deprivations. He learned 17 languages in order to find evidence of our origins in ancient writings. He left an extraordenary life-work: the first Tibetian-English dictionary, little paid by England. His sacrifice of live has not fructifying: he died before finishing. He is an eternal idol of the human greatness.

I made a pilgrimage to his birthplace as well as to his resting place. I created Székely gates and wooden head-markers for his memory and for the memory of our ancestors. News on these objects have got around, and, on the occasion of the 170th anniversary of his death, an exhibition will be made again in India, this time in Calcutta. We will inaugurate a new ornamental urn at his headstone in Darjeeling.

I am working always with hemp. This is a hard and rigid material. I weave in a traditional way, on loom, but my objects could not be called for gobelin, rather textile-relief or statuesque textiles.

Recently I wove spatial textiles. „Wooden” headmarkers were made on the loom as huge blueprints. I weave using silver-plated iron forks. I got them from a flea-market, although thin and strong, I made eight wore out, however.

As I think, in the art early success is never good. I was even inspired by arduous conditions and obstacles. We have been six, living on the sole teacher’s salary of my father .Yet, all we had. We were happy. Growing out, I have thought a lot on it, it gave me a great strength in the difficulties. I more observe the tiny miracles. How the green of moss is blooming on the barren rocks. How the pricky chestnut shell protects the shiny seed.

I graduated as a ceramist at the high school. Maybe that is why my textiles became spatial ones. I applied to the university for the ceramic major, but my papers were misplaced, so I matriculated as textile major. I showed my first weaving to nobody. It had to be square, but succeeded to be quadruplane totally. By a special providence, I learned to weave ”normally” first, then I became “strange” using three dimensions.

25/11/2012 Budapest

The Artists Settlement was founded involving restless young artists in 1978. The city council (that is, the state) provided substantial funding. Although filtered, the Western ideology was able to arrive to the ‘happiest barrack of the Communist Camp’, to Hungary. Kecskemét has quickly had its place on the international map of the fine and applied arts, having artists to flock there. The 3000-piece collection of 400 artists from 42 countries is a national treasure.

Even now, the Kecskemét Ceramics Studio is the sole centre of the domestic ceramic profession. Being world famous as a real creative and intellectual workshop, innumerable foreign artists has been working here.

To set fire the furnace is an open day. Last year Masakazu Kusakabe, the renowned ceramic artist and master of kiln construction, commanded a kiln-building workshop. Directed by Júlia Néma, this summer in Kecskemét a symposium on wood-fired enamels was organized for the graduated and undergraduate students in ceramic major of the Moholy University as well as for artists from abroad.

Before the introduction of gas and electricity, potters used wood for burning. In the past pottery applied clays of local resources, this is the reason why the production of high-fired ceramics, stoneware and porcelain was invented in China, where prime kaolin deposits were found, the raw material of the porcelain.

Before the introduction of gas and electricity, potters used wood for burning. In the past pottery applied clays of local resources, this is the reason why the production of high-fired ceramics, stoneware and porcelain was invented in China, where prime kaolin deposits were found, the raw material of the porcelain.

In Hungary, of geological reasons, traditionally the low temperature firing of red clays came into general use. High-firing domestic experiments started in the seventies, and the Studio has played an important role in this development.

Pertain to the high-temperature wood-fire burning, the wood ash, circulating inside the kiln, deposite to the ceramics in spots, and melted later it forms a greenish glaze. In this way each object in the kiln, either glazed or unglazed, has a unique surface. One of the easiest way to create a glaze is to use ball clays. Applied to the surface of the objects, this clay melting produces a dark glaze.

The Japanese master presented not only the glazes and the methods of firing to the participants, but he tried as much as possible to transfer the own ideas of the Japanese wood-fire ceramists, which is closely connected to the aesthetics of the tea ceremony as well.

The material of the pottery lives, continously moves until leaves the kiln. As somebody said, the electric furnace produces an object, a wood-fired kiln gives birth.

It is interesting to observe the sensitivity of the Japanese people to the object culture, and especially to the ceramics. It is perceivable their relations to the objects inherited from generations, as they are handling these objects. There is always exigency, fine care, and respect. „ I do not want many objects, only few, but personal, what I must estimate”.

1/8/2013 Kecskemét

When attending the Móricz high school, I loved the literature. Having a wonderful teacher, I was her reader. Everyone thought I became a teacher of Hungarian literature and French, but, surprisingly and for the panic of my parents, I passed the entrance tests of the University of Applied Arts, where I graduated in Book Arts.

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Working as graphic artist, suddenly I created a book of free graphic motifs. This was the book, with which I received my first scholarship abroad, to Spain, later a French government one for two months in Paris. I found new materials, making boldly books of rubber or metal mesh.

Working as graphic artist, suddenly I created a book of free graphic motifs. This was the book, with which I received my first scholarship abroad, to Spain, later a French government one for two months in Paris. I found new materials, making boldly books of rubber or metal mesh.

I paint the paper first, using roller or brush, sometimes with dipping. To print the text and graphics I use various techniques: lithography, silkscreen, linotype, etching, as well as glass staining, airbrush painting, templates, imprints.

Many people are reluctant to reshape a book. As a former scholarship holder, I attend the Frankfurt Book Fair each year. The burned paper, integrated to a composition by some artists, means serious break in the historical wounds in Germany.

However, the coffee booklet, made from used coffee filters, gained devotion. My “Rabbit Teahouse” book, made for an international competition in Vilnius, Lithuania was also a great success. Filters came from my home, cover paper was purchased from abroad, and I wrote the story.

I am often being invited to France. The French poetry is close to me. Perhaps this is why so many collectors expect my rare collectibles. In this genre the language is important, not only for the understanding but transferring as well the culture, the rhythm of life, and the soul.

The Hungarian language is a rare-spoken one, so our writers are known by few. It is really risky to create an object of our great writers. I was so happy when portraits of Esterházy or Márai were recognized at exhibitions abroad.

My book objects contain bookbinding materials, but sometimes a wire mesh used in the deckles, a metal stencil-plate, wood, or paper pulp are applied. It is important that the results such as the “Face-Book” give a truly artistic experience and convey the message of a real book.

For the Book Festival of the Buda Castle I made a series: an alphabet book of the Hungarian poets and writers, created of the word “BUDAVÁR”. It is not an easy task to find a famous name to each letter, not the mention how fun is to draw and linocut a due figure!

14/11/2012 Budapest