I feel that I am true when I follow reality, when my painting reflects the social, human, emotional conditions of our time. I paint, I draw as my interior dictates. I’m not speculating, I’m not adapting to the “fashion” that is just in line, I’m not trying to paint a picture that is born at all costs in the spirit of “new-looking,” experimentation.
I like, on the other hand, when my painting says something to the viewer, when a connection is made between us by it. I love the clear visual order, the harmony of colors. I avoid loudness, obscurity, or astonishing absurdity. I’m not one to cause outrage. I want to speak the language of beautiful aesthetics.
I’m not a fan of big paradigm changes and 180-degree turns. I try to be more modern, with small steps. On the other hand, I try to understand and accept all those who think “differently,” even if they walk the road of trends towards easy success.
I believe that art has a future and that is not an image of the unimaginable.
Only a few artist can open new roads, thus create completely new paradigms. It is very difficult nowadays to create something that has no one and nothing to relate to (and this is not just painting). Thus, “speaking your own language” is the hardest part. A method of expression that is unique to its creator. It took me a lot of work and time to build, from the existing paradigms, a form and color language unique to me. The two dimensions of constructive cubism froze my images, so I had to borrow the “pointillist air” of the Impressionists to make the paintings come alive. Apparently a simple procedure; like everything after you find the solution. Instead of the usual perspective, I operate by placing the “layers” in front of and behind each other. “Marbling,” “laying,” and “scraping” only enriched the pictorial surface.
I do not consider it offensive when art analysts relate my work to the Hungarian Art Nouveau, the painting of the Great Plain. It would be a great loss to art if its national character ceased altogether, but would not be good if it would turn to dominate it.
I born Hungarian, so if I were a writer, I would write in Hungarian; if I were a musician, I would also rely on traditions. So I find it natural that these elements can be found in my painting style.
Mostly I prefer drewing and painting the landscapes and people of Hajdúság, Hortobágy and Transylvania. But Ady, Krúdy, Petőfi, Csokonai, Rákóczi, Dózsa, Bocskai, Kodály, Bartók also inspired my brush from time to time.
I worked in many countries in Europe and Asia, to where I traveled or attended an artist colony. I got to know the artistic aspirations of my contemporaries, I met the results of previous artists, and all this helped me to find myself, to strengthen me both in my faith and my work.