Biography
His first mentor was Ödön Somoskői from his native village. He graduated from the mathematics and drawing department of the Eger Teacher Training College as a student of János Blaskó, János Seres, and Ernő Nagy. He completed his studies at the Hungarian Academy of Fine Arts. Since 1995, he is associate professor at Eszterházy Károly Teacher Training College. He is a regular participant in domestic exhibitions. In his publications, he studies the world of children's drawings.
His residence, Somoskőújfalu, is the main source of inspiration for his painting. His sovereign, autonomous pictorial world, not tied to stylistic trends, and his symbolic reinterpretation of folk art traditions make him one of those who choose an individual creative path. At the beginning of his career, he created expressive and then lyrical abstract works showing the influence of Jackson Pollock and Hans Hartung.
From the 1970s, the naturalistic representation of the plant form of existence was combined with a geometrical character, he explored the laws of repetition and diminution, and then he was preoccupied with the depiction of biologically higher animal existence - birds, quadrupeds. In the second half of the decade, he found his individual color-form-image world. In his concisely composed works, in contrast to the anti-colorist, conceptual cordifashion, strong, clean, often uniform color surfaces appeared, following the unmastered world view of children's drawings and folk art, and the purity of "neoprimitive" painting. In his decorative, planar compositions, the image field is dominated by a prominent figure. The image carriers of continuous rebirth are circular or spiral forms, which elevate life to eternity and expand the narrow living space into a cosmic one (The golden gate is open, 1983-1984).
He follows the compositional and stylistic peculiarities of children's drawings and Egyptian art in his representation: he avoids the visual perspective and presents his figures and objects from a strange, unusual top view (e.g.: Match;, Yard, 1982) or from an aspect that provides the greatest surface visibility. By the 1980s, his painting style had changed: the thick, stringy applied paint enriched the nuances of the plasticity, and the texture created a relief effect. He continues to create works of a smaller size, but with a strong color scheme, and the number of titles referring to action has increased.
