I was born in Kecskemét, Hungary, and I have been working here for decades. I was introduced to clay at the István Tömörkény Art School in Szeged. From these years I remember with fondness the professional and human support of the ceramic artist János Fekete and the graphic artist Márta Kopasz.I started to work as an independent artist with family help and little self-confidence, which brought me slow success at first. Over the years, however, I have tried my hand at several segments of the profession. I believe that to master the craft, one must go back to the roots. I learned to make the vessels we use today from the pure forms and technically difficult, sometimes brilliant solutions of Hungarian folk pottery. Indeed, the discing of a Transylvanian bokály, which appears to be a simple form, requires a great deal of professional skill on the part of any potter.
My irresistible fascination with figurative ceramics was evident from the very beginning, and within this, I was most fascinated by Art Nouveau as a stylistic movement. It is a world that is still unforgettable for me to this day.
My subjects are slender, dreamy, thousand-faced women, evoking the atmosphere of happy times of peace. Perhaps this attachment is due to my strong bourgeois upbringing, although it is irrelevant where the attraction comes from, this creative work means daily happiness for me. However, there was a ten-year detour in my professional life into the genre of building ceramics.
At the request of Dr Gábor Farkas, Ybl Prize-winning architect, Zsolt Szegedi and I set up a company to design and manufacture building ceramics. After two years of working together, Zsolt and I split up and I took over the business. Not only the diversity of artistic work, but also working with people was unknown.
Reinterpreting the beautiful heritage of the Zsolnay family in the light of the architectural standards of the time is always a challenging professional task. I have learned a lot and made many friends during these years. It was a wonderful time in my life.
I am proud to have been able to create something lasting, to the delight of people and myself. These outdoor and indoor ceramic sculptures can be seen in many cities around the country. However, after a while I missed my real world, the small sculptures. I live in eternal synbiosis with them. If I try to turn to other techniques or subjects, they reach out for me, they won't let me.
How many works have come out of my hands over the years? Probably hundreds, all different.
I have had many exhibitions at home and abroad. It may sound immodest, but my works are sought after and collected by many people.
I would like to bring joy and harmony to people with my works, forgetting the difficulties of every day.