“My works are strongly connected to a small town, Hajdúszoboszló, where I grew up. Whenever I can, I go home to my parents. At such times, I also dedicate time to my favorite activity, walking, while I collect pictures, and I start painting based on them. I often work there, in my mother’s garage in Szoboszló, while my parents look after my little girl. And I often bring motifs and impressions of different omens to Pécs, along with the many bundles. I feel that both cities are very important to me, Szoboszló for the roots, the family, Pécs for the freer intellectual atmosphere, the cultural diversity, and the friendships.

The pictures I am presenting now depict the spaces of private gardens, houses, and fences that I often walked around as a child and young man. The sight of the same space carries many layers of meaning, which can always change over time depending on events, personal perspective, and attention. For many years, my attention has been focused on the microworlds of private gardens, which always appear in different aspects. They can appear at the same time as places connected to acquaintances or strangers, as ancient, timeless images, the stratification of time emerges in them, and at the same time, together with the attribute of our present, they become vibrantly interesting spaces for me. I also view fences, gates, and facades as spatial structures that symbolically demarcate and connect spaces and (historical) eras, where elements related to lifestyle and taste, as well as the need for representation and intimacy, are also manifested.

Various problems and disturbing phenomena of our time also take shape in these micro-spaces. My paintings show images of political billboards or billboards encouraging people to buy and consume, erected in private gardens, thus invading the atmosphere of the private sphere. Likewise, phenomena caused by climate change (such as the burnt grassy landscape details of the previous summer), or concreted, gray “gardens” that reflect the heat in summer and suffocate the soil, or concrete-artificial grass-white decorative gravel “gardens” that “shine” in the hot summer due to climate change.

Observing gardens sometimes borders on spying, but I can look at the playful, windmill- and solar-powered figure gardens with my daughter, with whom our walks together have brought new perspectives. These small, childlike compositions, with the wind- and solar-powered spinners and figures, are symbolic for me, in addition to the fact that I am also moved by sociographic interest when I observe and paint them. Reality can also give birth to the most beautiful symbolic contents: devices that help the movement of elderly and sick people, a food basket hanging on a fence, a set of playful (of course kitschy, but primarily playful for me) windmills spinning around and around, exposed to the wind, remind me of transience, the cycle of life and death.”