My artworks take critical view of social, political and cultural issues. I often reflect on recent Hungarian history and the Cold War – in relation to other Eastern European countries. The collisions of subjective and collective memory are also recurring elements of my projects. As an artist, I began to engage with the stories surrounding sites that have been significantly transformed over the past 70 years, roughly since World War II. I am carrying out research along the following themes: The effects of industrialisation and later globalisation on micro-communities; The transformation of urban and rural landscapes as a result of political power; and The transformation of community spaces. My current project, “Invisible Factory”, deals with Cold War memory by way of the sites of the era (bunkers, factories, and the built environment). I began engaging with this subject in 2014, and since the summer of 2016, I have been working on it together with Csaba Árpád Horváth. Our work, Invisible Factory, reflects on the recent past, politics of memory, and its controversial relationship with the actual experiences, through the history of the transformation of an underground ammunition factory in Hungary.
Time conceals stories and secrets. We can speak about parallel realities and timelines if we think of parallel thoughts, narrations, happenings and places. However, parallel timelines do not exist. There is only one timeline. Circumstances, spaces and people make that one timeline of reality appearing parallel. This parallel nature of the concept of time and the apparent independence of timelines are what interest me. They are timelines that unintentionally get connected and intertwined. One of them gets its special character and fragility from the other running independent next to it. What happens if they get connected?
The topic of time also brings up historicism. In fact, if we speak about time, we actually speak about historicism. We compare, systematize and try to interpret events by placing them in time. Moreover, by means of causal relation these events are turned into stories. Even in the case of social networks we think and handle things in terms of time. It is not enough any more to only thematically systematize pictures and news as we ended up existing in a virtual timeline.
Many of my works deal with the parallelism of time. The parallel nature of timelines sometimes emerges by redesigning an existing work. For instance, when I recontextualize or appropriate a painted Renaissance plate or when my inner, personal reality clashes against the outer reality of events in the world.
I am attached to the traditions of painting and my aim is to broaden its instruments. I make painting-objects and painting projects. I present personal stories in my works, however, there is some deeper, general phenomenon under the surface of these stories. In the case of my diary pages, these personal stories usually appear hand in hand with current social events. I am interested in interactive works that can move space, be taken away “in thought” and that inspire the interaction and mutual contemplation of viewers.. I find those works interesting in which the text broadens and completes the picture. It is not he illustrative art that fascinates me but such a connection between picture and text where the layers of thought and visuality broaden each other.