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 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.