Your works show strong constructivist and neoplasticist impact. Why this form of expression is so important to you and how would you seperate yourself from similar artists?

The fact that my art now has a more geometrical approach is the result of a relatively long process dominated by instincts rather than my consciousness. I mean I’ve tried out many styles. From my early figural studies, I soon got to the point where my works mainly consisted of boxworks, artbooks as well as objects and installations made from recycled materials. After that, with time, my works got more and more clear and simple out of an internal urge. I’ve soon realized that creating abstract paintings and objects using simple elements and basic colours makes me feel so good as if I were in therapy. 

I once heard from Tamás Konok that according to Nietzsche’s theory we can separate artists into two groups: the Dionyssian ones, thriving on chaos, and the Apollonian ones creating order and structure. I absolutely belong to the second one, not just in my art.

On the other hand I have to let you know that my first profession was landscape architect and the years spent in this field surely left a mark on my aesthetic sense. That is where my attraction to geometry and perspective comes from. It is hard to be an artist with a ten year gap, but now I appreciate my originality that derives from that past. Although I don’t always feel this originality, my environment states the opposite. I seek to create works that leave no questions in me and that I am 100% certain about.

What other abstract works and artists had or have an impact on you?

I feel lucky because I studied at lots of places, where I met wonderful people and artists I can look up to both professionally and personally. For instance the previously mentionted Tamás Konok had a huge influence on me. But I can thank a lot to Márton Barabás and Marcel Kelemen too.

One of my favorite artists is Lousie Nevelson, an American sculptor whose works I have never seen in before, but their transcendent power can be felt even on photos. Nevelson is not just a great artist, I admire her also as a human-being, her perseverance is exemplary. Besides her, János Megyik, Árpád Forgó, Wyatt Khan, Imi Knoebel and Vera Molnár are all very inspirational to me.

Order, structure, geometrical forms, straight lines and flat surfaces are all basic elements of your works. What do you think about the opposite aspects of these qualities and phenomena, like chaos, disarrange, anarchism? How do you relate to them?

In the first question I have already mentioned this duality because some kind of order is indeed truly important part of my art.  For some years, since I have my own family, order is getting more and more important in my life, in and out too. And because of my two sons, the ideal state cannot be sustained, so my desire sublimates into my art. Sometimes my perfectionism and tidiness can drive my environment crazy…

However, I can perfectly understand the other side as well, I can imagine a state of mind in which somebody’s creating artwork out of passion or anger.

I simply wasn’t built like that. I release those strains by running and only after that I transform them into creative energy. Of course this doesn’t mean that there is no tension in my works, only that I don’t create in an agitated state, out of impulse but instead I try to face my demons  in a therapeutic way.

Nevertheless, I can really appreciate those who create with the energy of chaos. Probably these are the works that can really effect the viewers, they can be very captivating.

As you mentioned, art can help you keep your mental health, peace and tranquility. Do you think your works can help others too, with these positive effects or is this true only for the creative process?

This is hard, but I believe that the energy and thoughts used in the creating process can be felt in the reception. A good piece of art is radiating and if we spend enough time with them they start to talk. The best part of that is when the viewers start to attach their own associations to the pictures or sculptures. It makes me happy when somebody likes to live with my art, because it makes them think, inspires them or resonates with them.