In 2006 I became admitted to department painting of the Hungarian University of Fine Arts where my masters were Árpád Szabados, Péter Kiss and Imre Bukta. During these years I took part in the annual exhibitions of students of the University. I also took part in several competition exhibitions in hall ‘Barcsay’ of the University. In 2010 I gained erasmus scholarship which I spent in Valencia, Spain (Universidad Politécnica Facultad de Bellas Artes). Aside from analogue photography here I attended ‘constructions of metal’ sculpture course where I learned how to weld and acquired the love of metal as a material as well as the urge of creating spatial objects and phenomena. At the end of the semester I took part in a group exhibition with groupmates of the course in the campus of the university. Having returned I graduated in 2011.
In the first years of the University I was devoted to actually learn painting, that is, to acquire the ‘knowledge’ and master-strokes of traditional (‘realistic’) painting and drawing. Accordingly, in the first years of my studies I was particularly engaged in painting. However, after having engaged myself for some years in this process, I realized that the concept, philosophy and personal intrinsic motivation for me is much more important and essential than the mere formalism of a certain artwork. From this time on this elemental intention started to determine the form, and began to find each time the most suitable medium for itself to crystallize out. Instead of rigid formal characteristics I rather define myself in a philosophical-sensual way which means I take the risk of my work being outwardly (and thus technically) heterogeneous, variable and diverse as my own experiences, intentions, desires and impressions are changing by time. My works (paintings, objects, sculptures or installations) always have an intense personal origin (feelings, events or experiences of my life), which I strain, densify, abstract and sublimate into a sensual phenomenon. Besides, it is always important for me to enhance the sensation and to combine visual phenomena with other senses (sound, movement and other dimensions) so the effect could be much more intensive, suggestive and sensual. Sometimes I need the act of painting, sometimes I need caducous and ethereal phenomena, sometimes I require and prefer spatial objects, and the recent years I started to call for and play in the audio-dimension of sound and music.
So starting from as early as 2010, my works tended to be rather determined by certain strong personal, intrinsic motivations (which alter and reform from time to time) which each time search for their most suitable form and medium to crystallize, to become incarnated, to develop. So I do not insist on a certain genre, medium or technology, but on a certain train of thoughts, sensations and visions, conception, which somehow always claims the most convenient material and technology for itself on its way of realization.
Installations and event – constructions
My final work at the University was the ‘Pending Game’– installation, which already strongly indicated and suggested the direction of my unique artistic way that would later determine my further work. This ‘environmental-installation’ included not only a photograph-based mural-scale painting, but a hanging realistic sculpture (positive mould of my body’s cast ) as well as other moving, kinetic installation parts, that would give the whole scene an emphatically, eerily vivid character. This kind of dominating, suggestive `presence` was that once particularly inspired and excited me and made me start to create my first `vivid` or `moving` installations, sculptures, or `scenes` that would only fulfil and incarnate their true designation (or their whole existence, if you like) during the time of an exhibition. Since these constructions, once positioned and installed, need to be switched on, to be able to `play` and `perform` their own performance, as if each had an own story to tell, a sound or a scene to be played, or as if they were just switched on to be born, to be vivified, only for the certain exhibition, or `for the sake of art`, only until the `show goes on` so as to be switched off again afterwards, let them taken over by silence again, like abstract, marionette `puppets`, analogously to `human puppets` from real world.
The first piece of these artwork – installations (or let they be called `event-objects`, or `event-constructions` ) was the `One Minute Breeze` installation, in the case of which my primary conception and desire was to somehow grab a `piece of nature`, in this certain case, the phenomenon of the `sough of leaves`, that is, the sound of quivering and trembling of autumn, poplar leaves. So I wanted to somehow ‘rive’ this phenomenon off the environment with a desperate gesture and to fix it and save it in one object or installation.
Then followed in 2010 the `Heartbeat` installation with the heartbeat-projector construction which managed to visualize, to project the actual sound of a formerly recorded heartbeat. In the same year I created the `Cleansing Source’ (‘Crying Canvas`) event- installation work, which is an actual ‘crying canvas’: waterdrops are falling from time to time from a primed, impregnated white canvas, but not in the direction indicated by gravitation – they are falling as if they were rolling off an imaginary, invisible face.
In Valencia I constructed the `Hang By a Hair` metal sculpture installation, in which there was a gallows-rope-shaped wrought iron (steadily hanged up vertically on a support fixed on the wall) and the `spectre` of it was kind of vivified by its moving shadow silhouette (that is, an image, projected from a special `object`-projector. ).
All of these event-constructions has much in common: 1. All of them contains audiovisual effects, and `switches on` all of the senses, thus stimulating and exerting an ambiguous but suggestive effect on the viewer or receiver. 2. All of them has an `event`, play or scene, a unique phenomenon to perform, thus, contrary to traditional paintings or sculptures, they possess a definite duration time. 3. All of them have the same strange appearance, as if they were a kind of abstract but somehow animated and vivified `living creatures`. 4. All of them need to be switched on once the exhibition starts, but from then on, they are `self-propelling`. 5. They are themselves metaphorical `inclusions` of a feeling, a mood, a phenomenon, or a scene/situation, a piece of life. Furthermore, because of being spatial (at the same time audiovisual) incarnations and articulations of my personal motivations, naturally, they are basically transmitting my feeling of life, and hopefully something else, too…
During the years starting from 2010 my aim was to continue constructing and executing these event -constructions. However, as I continued, emphasis slowly moved sensibly to audio and sound dimensions and aspects. In the meantime, I myself have become interested in music again (I am also dealing with piano playing and music composition theory). Thus later I started to be dealing with conceptions connected to music, sound and audiovisual senses. That’s how I started to make my first Music (or melody) Machines, when I connected my musical compositions and intuitions to my sculptural urge.