Please explain your relationship with bees. What makes them such fantastic creatures?
I started focusing on bees around 2009. There was a fantastic course at the Szent István University’s vet faculty with the best professors in biology, and I adored it. The way bees work is exceptionally interesting, all is a very well organized system. At the time, I was mostly creating organic abstracts, and I got interested in the emerging systems in nature, in the patterns that are repeating themselves. Therefore, I started to work like the bees; I was repeating a certain pattern and thereof constructing my paintings. Later on, the organic marks and symbols became more geometric, and now I am working specifically on hybrid systems.
What do you think; how can we shift our understanding of art, its reception and the production of art itself, its trade and various technological innovations, such as artificial intelligence?
I think that the images created by the digital world have a big effect on people. We meet with such images on a daily basis on the Internet, and even on the street. The world of pixels and glitch art is no longer at a distance from people. I, for instance, adore graphs and I adore any graph that can show a certain tendency or transformation. At the moment, I am making such a work, where a single sign, a single line is always repeated. In repetition, there are often mistakes, and these mistakes then create the pattern. Properly speaking, this is an analogue glitch art. In the end, it all looks like a landscape created by digital mapping. It also alludes to the old Japanese tint-drawings. The spread of the Internet obviously has an enormous effect on the art market.
The boundaries have fallen; it is quite common today that someone, for example, in the USA, from an unknown town, buys the work of a Hungarian artist online. I also sold multiple works of mine like that through galleries. Naturally, this both has advantages and disadvantages: its disadvantage is for instance the lack of a personal connection, the meeting with the collector never takes place. Even though there were cases when the collector found me online, and years later I was in Berlin, where he visited me in my studio.
What do you think is the role of art in today’s society?
Well, it is very difficult to answer this question. I believe there are as many artists as there are roles. Here in Berlin, for example, it is usually a requirement that the artist be socially sensible, and this sensibility has to find a voice in the artist’s works. The artist has to be critical, loud and a performer. Here, it is mainly the urban-socio concept that is interesting for galleries. Abstract art for instance is not too popular.
What does a day look like for you? How do your routines build your art?
Well, I love working in the mornings, while there is silence and everything is fresh. At the moment, my studio is in our Neukoll-flat, so around noon I start cooking. Then I take a nap, and answer my emails. In the afternoons, if the weather allows it, I go out to the park; there are great green spaces in Berlin, I love it! Usually, I try to work every day, for I do not like to fall out of my routine.
Tell us a little about your exhibitions abroad! How did the people receive your art, let’s say in London and in Japan?
After I finished university, I immediately moved to Maastricht, Holland. There, I was exceptionally lucky; a very professional, beautiful gallery exhibited me a couple of months later. A year after that, a newly opening gallery in Paris found me, and I had two exhibitions with them, and so on. For a while, I worked with the Várfok Gallery in Budapest as well and took part in a lot of group exhibitions, like with the Act of Painting group from Holland, twice in Japan and once in Berlin. As I see it, people usually see the abstract in a positive way. The judgement of the abstract is way more neutral than that of a political concept’s work.
Please present us your works that are visible on ArtConscious.
My works on ArtConscious are the products of the period between 2012 and 2015. It is mainly the geometric and the synthesis of the organic abstract that interested me. These are paintings of gesture, but through a solid, organized scheme. The spontaneous meeting of the conscious with the organized. The “absence” is the caesura, the rhythm that interested me in these paintings. The way in which the little lines break the only paint slapped with impulse, creating a stroboscope-like spectacle.
(Featured artwork: Gy. Sagi: Op. 84. acrylic on canvas, 120 x 120 x 2 cm, 2015)