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Artist Statement -



Elevated Pictures
The Painting of Tamás Kopasz

The painting of Tamás Kopasz is interpreted by many people and in many ways–as normally the artworks of famous artists. Analytical, systematic, synoptic, funny writings or essays written in friendly ways deal with his artworks and creative activity. In the field of the growing oeuvre the fast multiplying texts create a more and more consistent structure, a kind of text-packing. The following writing can be determined as a typographical co-note, lingering beside the pattern of the spectacular “packaging”, the decorative rule of which is not so important, rather it attracts the attention on several directions.
Fortunately, Tamás Kopasz is more interested in the experience of the act of painting and in the strange painting procedure of a canvas than the current and fashionable art topics and trends. “I create not because somebody needs it” – the artist says. It means that he doesn’t seek for professional recognition. Tamás Kopasz concentrates on painting. Moreover, the latter quotation can be misunderstood if it is compared with his paintings which have only been skimmed. In this case one can draw a false conclusion: “Only the paint meets your will [...] the painter himself does not have any say”. However, Kopasz’s art is not the interesting re-enactment of abstract expressionism, nor he focuses on spontaneity nor on consummation of the paint’s own will. For him the canvas is not an “arena-battlefield” yet (Rosenberg), where the picture is becoming an action, rather –playing with words– turning back, or re-interpreting the process, he turns the action into picture. Perfect timing is a crucial part of this process.
Kopasz creates his artworks during “ecstatically” experienced act of painting, with other words, the painting born between the starting and finishing moments of a unique state of creating. The painter should recognize these two moments and should allow to “get carried away”, i. e. the mental awareness of recognition combines with passivity of self-giving. The artist however is not only a passive “user” of that ecstatic state he is rather its transformator as he has to harmonize the external force of rapture with the inner force of consciousness and the inherent possibilities in spontaneity. The state of ecstasy lasts until then, it should be upheld until the picture is not ready and it has to be ready while the ecstatic state holds, i. e. it is sustainable. The “floating interest…,” allows joining and seeing through all of them. This floating interest isn’t the effect of harmonizing the self-conscious and the nonconscious, rather attached to the focused ecstasy. Thanks to this interest, Ventos says, we are able to listen out and inner simultaneously, excluding the codes and symbols of our convictions and belief. “…”.
Kopasz does not prepare any precise plan, he does not work out his paintings with the help of sketches. When the process of painting starts, he would not know yet, what will happen. He cannot foresee, because he could not foresee, how the painting will develop, or, thinking it further, he could not know whether there will be a (“ready”) painting as there is no visible, planned aim or assurance that the process of creation ends successfully. We can only hope that!
Fear and stress of blind flying, for Kopasz, is not a paralyzing feeling, rather it is a psychical tuning. We can say that the fear takes part in controlling the artist. In the midst of work –as a unique “self-controlled signal transmitter”– it reminds him incessantly that there is a risk of interrupting the blessedness in any time. So then, at the end, it helps him to concentrate more and more on the intensive and attentive empathy of ecstatic state. The strangling excitement of the not planned, not known development of the image and the precise finishing, in other words, induces psychical and emotional tension between the euphoric happiness of the birth of the picture. If the two end values come closer to each other, thus, the process of equalization would start up, the quick heart-beat of the paintings would slow down and turn into mechanical and monotonous knocking. It is important to emphasize all of these because the art of Kopasz should be defined in contrast to the art, giving meaning to the applying sign of motoric movement as critical painting.
The art of Kopasz underlines the idea, which seems to be not too important for contemporary art, or, often directly unnecessary, thematizing the relation between picture size, mode of representation and topic. In the case of gesture paintings, due to the fact that they do not open windows to another illusory reality, and because of the paint traces refer to non- recognizable elements of reality, the quality of gestures (their intensity, direction, colour, dimension) and proportion is perceived and appreciated mainly – disproportion between gesture and painting surface. The dimension of the painting table – and sometimes its form – controls the gesture. The gesture, either uses up the available surface, or leaves it untouched, acts on the size of painting surface, but the gesture can be realized because of the so called overgrowing on the surface essentially. Between gesture and surface exits a strong connection. In most cases the surface size has meaning, when the canvas choice i. e. the exact setting of the playing field of the gesture-gestures, anticipates the painting. The dominancy of the canvas size can be unmade so that the painter does not consider the size of the painting surface as fixed size, he rather marks afterwards, then he underlines a detail and it will be named as a completed artwork. The dimensions do not belong to the ambitious post-works, completing the ecstatic works, but, incontestably, it is a conscious, closing intervention.
On the canvases of Kopasz carefully chosen details of endless diffusing, colour and stripe structures with immeasurable size can be seen. On the picture cuts fragment images of the chaos of dissipation exist, which is capable to work as ”leading field”, able to ” Show the man and the sensible phenomena taking place in the soul of the conflict; and thus into the generation and demonstrate a change”. Therefore the underlined details (the paintings) do not carry the spontaneous action’s sign of rugged self-expression and they do not show the coloured fragmented trails of wandering, but, instead, they became elevated detail-pictures of reality, which could be experienced through disciplined ecstasy.
The essence of “elevation” is that it does not interpret, it “does not tell the story, nor describe, it simply shows off […] the elevated […] stands instead of other thing: on the first level it interprets the subjective atmosphere, on the second level the cosmic approach, the presentiment of ……..”. It is worth noting and correlating Kopasz’s art to the artistic approach and process of Middle Eastern painting and poetry because with help of these can be the specific characteristic of his paintings and their metaphoric character understood. As the above mentioned poetic and visual representations due to the elevating character, the metaphoric feature is rather implied than conscious. The “implied metaphor” does not want to be a (real) metaphor and “behave” as a metaphor, the passivity belongs to its essence. But all of these can be noticed not only in the Middle Eastern art. Similar “elevated pictures” can be found over the revealing, behind in the Western art, e. g. in a Bach’s motet or in a Zurbarán’s painting and, of course, many other earlier and older artwork could be mentioned.
Kopasz, without any comment, elevates the revealed pictures. While he adheres to the meaning, he gives up the representation of those objects, which could mediate them, more precisely, he puts the “elevated” unconscious metaphors created during the ecstatic painting in place of the objects which are able to function as object’s residuums. He presumes, that he can assign to a concrete painting adherent strongly to the meaning, an artistic atmosphere and sense which “not only to stand in the imaging of the subjective imagination of it.” To harmonize all these means and create a painting is a true success!

(Endre Lisányi)


"Fluctuation and turbulence
Painting 2002�2007

One might say, since the courses and solutions of the Kopaszian oeuvre can be grasped by means of metaphors only, that with the series Renaissance, the genie was released from the lamp. The gestural idiom rapidly proliferates and the almost monochrome schemes switch to passionate colourism and the pictures are imbued with light. The layers no longer restrain, but rather liberate, each other; subtle transparencies, translucencies and blends keep the surfaces in perpetual motion. The artist often uses pentimento. Pentimento is the coming-out of the gesture painter. �In a moment man�s body turns inside out, and what was innermost is now vulnerably on the outside,� B�la Kondor writes in one of his poems. The order of brushstrokes is visible; the surface becomes a series of painterly decisions. The brushstrokes tell it all, even the ones the painter has �repented.� Which is from where the Italian pentimento derives, meaning to repent or change your mind.
Tensions and relief, desire and fulfilment are materialised in the subordinated, superimposed or juxtaposed layers of the works in the Renaissance cycle. Having departed from reality a long time ago, Kopasz seeks to help us break away from reality, to relieve us from the pathetic view of the real world and to present us an alternative reality which, provided we allow it to penetrate us, will enables to get in touch with our most intimate feelings. The pictures attract and repulse, foster meditative contemplation and require spiritual knowledge. In the what appears to be disorder is in chaotic order. The artist gives form to formlessness. The early works in the Renaissance series force the gestures into the mass of an oval, head-shaped area; in the later works only the edge of the paper or the lyrical sfumato puffs colour in the background get in the way of the brushstrokes or, more often than not, the angry brush-strikes. The illusion of space and subtle handling of light explain why the title of the series is Renaissance.
The Baroque series (2005) was painted on canvas. The return of the canvas attests to the fact that textural effects have made a return. Paper will not tolerate pent-up, baroquesque passions and the pasty application of oil paint. Impasto is one of the favourite techniques of Abstract Expressionists because it lends itself well to displaying the energy that went into creating the work, as well as the direction and speed of the brushstrokes.
The flows of raised paint, their intersections create immense turbulence in the picture. One of the peculiarities of Abstract Expressionist pictures is that the story of their creation is an open book, the movement of paint, the bends, tugs, hiccups or slides of the hand applying the paint is revealed to us manifestly. Kopasz� titles refer to works of music. The desire of painting to be as spiritual as music is not a new phenomenon. Kandinsky, who was profoundly occupied with the relationship of music and painting, gave music-related titles to many of his works. Kandinsky claimed that when religion and science got mixed up, man turned his attention from external matters and began to focus on the world within. This spiritual revolution affected the most sensitive spheres, such as literature, music and the fine arts. Abstract art is indicative of this inward focus. In Kopasz� art the strengthening of spiritual features is in direct proportion to the free flow of gestures. The Baroque series betrays cathartic experiences. The often melancholic, gloomy moods are supplanted by the magical enjoyment of painting, an anticipation of fulfilment. The titles of Baroque quote the arias of H�ndel�s opera Ariodante that are widely regarded as the Baroque composer�s most expressive arias. The choice of title is no accident. The turbulent emotions expressed by the arias of Ariodante have much in common with the canvases in this series. Unusually for Kopasz, the most beautiful pieces of the cycle are in landscape format. The works have a horizontal, unimpeded flow, as if the open undulation never ended. But the heights of endless passion only captivate the artist for a few moments; the portrait format returns soon, together with the whirling lines and the superimposed brushstrokes. The most special works of the series are Kopasz� heads wound in purple bands of paint, strongly reminiscent of J�zsef Ga�l�s carved-wood heads bandaged in strips of leather.
The state of emotional exaltation persists in the Bach series and the second H�ndel series painted in 2007. The colour schemes are enriched, Kopasz wanders into even more daring hues and his palette becomes brighter. Brightness is apparent in the works of Bach in particular, and if anyone suggested the musical titles are merely an artistic whim, I would argue. It is said about Bach that he wrote music to God, and H�ndel to the world. Comparison of the series inspired by the two composers reveals a very different world of colours. The works dedicated to Bach are brighter, the yellows and blues are redolent with relief; the H�ndel pictures are unsettling, but Dixit Dominus and Utrecht Te Deum also feature some brighter colours. These particular works have much in common with the music of Bach. I do not wish to go into a musical-historical argument to support my ideas, only to reiterate that Kopasz� titles are deliberate and well thought-out, and musical parallels help to shed light on his expressive world."
Nagy T.Katalin,art historian

Artist Exhibitions




Tamás Kopasz (Szeged, Hungary, 1958)
kopasztamas@gmail.com

1977-1981 Hungarian University of Fine Arts
1993-1999 The establishment and operation of the Mű-Terem Gallery
1995-2009 Teacher in the Ferenczy István Visual Workshop
1999-2005 Teacher in the Szőnyi István Summer Art School
2000-2011 Teacher of Dance- and Art High School in Győr, sculpture dep.
2009- Associate Professor of Eszterházy Károly College
2010-2014 Art Director of GébArt International Art Camp in Zalaegerszeg



Prizes, scholarships:
1987-1990 Derkovits-scholarship
1989-1990 Pollock-Krasner Foundation,(USA) scholarship
1990 Prize of Barcsay Foundation
1990 Budapest-scholarship, München-Feldafing (Germany)
1993 Budapest- scholarship, Salzburg, (Austria)
1995-1996 DAAD scholarship, Atelierhaus Worpswede, (Germany)
2000 Munkácsy-prize
2003 Budapest- scholarship, Frankfurt am Main, (Germany)
2004 Hungart- scholarship
2006 Roman scholarship, Hungarian Academy in Rome
2015 33.Spring Exhibition in Salgotarjan, Grand Prix
2015 A Műút c. Literary Criticism, Art and Fine, Art Prize

Member of: MAOE, Artists’ League, Allience of Graphic Artists,
Hungarian Painters’ Society, Society of Sculptors, Hungarian Händel Society




Solo exhibitions:
1981 Szeged, Ifjúsági Ház
1985 A menyasszony panaszai (Laments of the Bride), Budapest, Fiatal Művészek Klubja
1986 Részletek az Aranykorból (Details from the Golden Age), Budapest, Studio Gallery
1986 Részletek az Aranykorból (Details from the Golden Age), Szentendre, Vajda Lajos Stúdió Pincegaléria
1987 Watercoloures, Drawings, West-Berlin, Babylonia Language Scholl, (West-Germany)
1988 Badacsonytomaj, Pandora Gallery
1992 Papírképek (Pictures on Paper), Székesfehérvár, Művelődési Központ
1992 Vác, Görög Templom Kiállítóterem
1994 Papírképek (Pictures on Paper), Budapest, Roczkov Gallery
1995 Budapest, Roczkov Gallery
1995 Papírképek (Pictures on Paper), Szeged, Impala Ház
1995 Budapest, Duna Gallery
1996 Worpswede, City Gallery, (with Tamás Gaál), (Germany)
1997 Budapest, Pandora Gallery
1998 Papírképek (Pictures on Paper), Szeged, Ifjúsági Ház
1998 Három Hold (Three Moons), Budapest, MAMŰ Pincegaléria
1999 Négypuhaujjbegy, levelek G.-nek (Four Soft Fingers, letters for G.), Vác, Arcus Gallery
1999 Már és Még (Still and Yet), Balassagyarmat, Művelődési Központ
1999 Befejezetlen sorozatok (Unfinished Series), Budapest, Mű-Terem Gallery
1999 Titánfolyam (Flow of Titans), Pécs, Pécsi Gallery (with József Szurcsik)
1999 Magángyűjtemény (Private Collection), Budapest, Kós Károly Room, (with Ádám Bálint)
2000 Befejezhetetlen sorozatok (Unfinished Series), Budapest, Újlipótvárosi Klub- Gallery
2000 idézőjelben (quoted), Budapest, Erlin Gallery
2000 …révület… (rave),Budapest, Godot Gallery
2002 …reneszansz…I, Budapest, Godot Gallery
2002 …reneszansz…II, Budapest, Meander Gallery
2002 Zalaegerszeg, Altamira Gallery, (with István Drabik és József Gaál)
2002 Fragmentumok (Fragments), Győr, Petőfi Sándor Művelődési Ház, on Mediawave Festival, (with Imre Tolnay)
2003 …reneszansz…I-II., (paintings, sculptures) Győr, Váczy Péter Collection
2004 …reneszansz…I-II., (paintings) Párkány/Sturovo, City Gallery (Slovakia)
2004 Papírképek (Pictures on Paper) 1994-2004, Budapest, Raiffeisen Gallery
2004 A meditáció helye (The Site of Meditation), Budapest, Várnegyed Gallery, (with József Gaál)
2006 Távol (Far Away), Budapest, Missionart Gallery
2006 Grafikák, nyomatok (Drawings, Prints), Budapest, Galéria IX., (with Imre Tolnayl)
2007 Dunaszerdahely, Art-Ma Gallery, (with Imre Tolnay), (Slovakia)
2007 Budapest, Visual Art Grand Picture Gallery, Best Western Hungaria Hotel
2007 Barokk (Baroque), Budapest, Inda Gallery
2008 Szentendre, Rodin Gallery
2009 Válogatás a Barokk c.sorozatból (Selection from Barouqe Series), Budapest, Art 9 Gallery
2009 Dialógus,párbeszéd a szobrászat nyelvén (Dialogue on the Language of Sculptures), Budapest, Ráday Képesház, (with Sibylle Burrer)
2011 Válogatás (Selecton), Balatongyörök, Bertha Bulcsu Művelődési Ház
2012 Terra, (Terra) Eger, Temple Gallery
2013 Zenit, (Zenith) Veszprém, Csikász Gallery
2014 Selection, Budapest, Flux Gallery
2015 1993/2015 Miskolc, Herman Ottó Museum, Miskolc Gallery (with Gaál József, Szurcsik József)



Groupe exhibitions:
1982 Stúdió '82, Budapest, Műcsarnok
1982 Hagyomány (Tradition), Budapest, Fényes Adolf Room
1982 Átalakulás (Transition), Budapest, FMK
1983 Realizmus (Realism), Hódmezővásárhely, Tornyai Múzeum
1983 Stúdió '83, Budapest, Ernst Múzeum
1984 Painters’ Biennale, Kosice (Checkoslovakia)
1984 Fiatal Kelet-Európai Művészek (Young East-European Artists), Prague, Brno, Rychnov, (Checkoslovakia)
1984 Exhibition of the Sopron Art Camp, Sopron, Liszt Ferenc Művelődési Központ
1984 Anyag (Material), Budapest, Fényes Adolf Room
1984 Painters’ Biennale, Sofia, (Bulgaria)
1984 Stúdió '84, Budapest, BNV
1985 Sopron, Festőház Galéria
1985 VIT,Budapest, Magyar Nemzeti Galéria (Hungarian National Gallery)
1985 XIII. Pencil Art Biennale, Miskolc, Miskolci Galéria
1985 Experimental Art, Budapest, Petőfi Csarnok
1985 II. Painters’ Biennale, Szeged, Móra Ferenc Múzeum
1985 Stúdió '85, Budapest, Ernst Múzeum
1986 Kilátó (Watchtower), Budapest, Water-tower on Margaret-island
1986 Művészet Ma (Art Today), Budapest, Hilton Hotel
1986 Stúdió '86, Budapest, Budapesti Történeti Múzeum
1987 Béke (Piece), Budapest, Vigadó Galéria
1987 Permanens Műhely (Permanent Worksshop), Budapest,FMK
1987 Festészeti kiállítás, Dunaújváros, Csók Galéria
1987 Showcase of Derkovits-fellows’, Szombathely, Szombathelyi Képtár
1987 Mágikus képek (Magical Paintings), Budapest, Budapest Galéria, Lajos utca
1987 Young Painters’ Biennale, Warsaw (Poland)
1987 Christie's Auction, Amsterdam, (Holland)
1987 Hungarian Days, Helsinki, (Finland)
1987 Hommage à Kassák Lajos, Salgótarján
1987 Művészet Ma (Art Today), Budapest, Budapest Galéria
1987 Eredendő Formák (Basic Forms), Budapest, Fészek Klub
1987 Nagykőrösi Tárlat, Nagykőrös
1987 Stúdió '87, Budapest, Ernst Múzeum
1988 Showcase of Derkovits-fellows’, Szombathely, Szombathelyi Képtár
1988 Young Hungarian and German Artists, Berlin, Rostock, (East-Germany)
1988 Szaft (Sauce), Budapest, Ernst Múzeum, Győr, Győr Műcsarnok, Dunaújváros, Uitz Terem
1988 Tavaszi Tárlat (Spring Exhibition), Budapest, Műcsarnok
1988 Painters’ Biennale, Salgótarján
1988 Gravitáció (Gravity), Szentendre, Vajda Lajos Stúdió Pincegaléria
1988 Új Művészeti Hadifegyverek (New Art Weapons), Budapest, Hadtörténeti Múzeum
1988 International Exhibition of Young Artists, Moskow, (USSR)
1988 Erdélyi Segélyfesztivál (Help for Transylvania Festival), Budapest, FMK
1988 Third Annual International Miniature Art Exhibition Toronto, Del Bello Gallery, (Kanada)
1989 Festészeti Tárlat, Nagykőrös
1989 Showcase of Derkovits-fellows’, Budapest, Ernst Múzeum
1989 Young Hungarian and German Artists, Budapest, Ernst Múzeum
1989 International Exhibition of Young Artists, Sçzecin, Muzeum Narodowe, (Poland)
1990 Derkovits-fellows, Vienna, Collegium Hungaricum, (Austria)
1990 Padlás 2 (Attic 2), Debrecen, (Dóró, Fátyol, Kopasz, Küchler, Sebestyén)
1990 Liblingsbilden/Jó melóm, Fiatal Képzőművészek Stúdiója kiállítása, Vienna, Galerie Kult, (Austria)
1990 Young Artists’s Studio Exhibition, Founding of Block group, Cologne, Galerie 68/ELF, (Germany)
1990 Young East European Artists, Rotterdam, De Doelen Congress Center, (Holland)
1990 oung East European Artists, (Norway)
1991 Kis képek (Little Paintings), Budapest, Small Galéria
1991 7 lét (7 Beeings), Budapest, Fiatal Művészek Klubja
1991 Aktiv-Art Galéria, Szentendre
1991 Block I. a Block Group Exhibition, Jászberény, Alkotárs Galéria
1991 Csalánleves Fesztivál, Block Group performance, Békéscsaba
1991 Exhibition of József Gaál, Tamás Kopasz, József Szurcsik, Miskolc, Miskolci Grafikai Műhely
1991 Alle-Art, Exhibition of the Block Group , Cologne, Galerie 68/ELF, (Germany)
1991 Emblematikus törekvések (Emblematic wills), Budapest, Budapest Galéria, Lajos utca
1992 Kis képek (Little pictures), Soltvadkert, MM. Galéria
1992 Acht Ungarn, Graz, Neue Galerie, (Austria)
1992 Alarm, Exhibition of the Block Group, Jászberény, Alkotárs Galéria
1992 II.Csalánleves Fesztivál, Vér (Blood), Voice Istallation, Békéscsaba
1992 Magyar Képzőművészeti Egyetem, Budapest, Barcsay-terem
1992 Stúdió '92, Exhibition of the Block Group, Budapest, Ernst Múzeum
1992 Mélyvágás (Deep Cut), Exhibition of the Block Group, instalation, performance, Gallery by Night, Budapest, Studió Galéria
1992 Block-Endre, Exhibition of the Block Group, Szentendre, Szentendrei Képtár
1993 Kívül-Belül (In-Out), Exhibition of the Block Group, instalation, Budapest, Műcsarnok
1993 Aritmia 2, Dunaújváros, Csók István Galéria
1993 Exhibition of József Gaál, Tamás Kopasz, József Szurcsik, Miskolc, Miskolci Galéria
1993 Oraculo, Gallery by Night, Budapest, Studió Galéria
1993 124, Art Camp, a Jászberényi Art Camp, Budapest, Vigadó Galéria
1993 Exhibition of Paks Art Camp, Paks, Modern Képtár
1993 Crystal Cabinet, Budapest, Water-tower on Margaret-island
1993 International Pencil Art Biennale, Ljubljana, (Slovenia)
1993 Hungarian Pencil Art Exhibition, Nagoya, (Japan)
1994 Baksai, Kopasz, Szurcsik, Kircharten-Freiburg, (Germany)
1994 József Gaál, Tamás Kopasz, József Szurcsik, Pécs, Pécsi Galéria
1994 a '80-as évek művészete (Art of the ’80s), Budapest, Ernst Múzeum
1995 City Gallery,Turku, (Finland)
1995 Chappel Art Galéria, Hamburg, (Germany)
1996 HÓ-TÁR, Budapest, Vízivárosi Galéria
1997 Rejtőzködő (In Hiding), Budapest, Ernst Múzeum
1997 Olaj-Vászon (Oil-Canvas), Budapest, Műcsarnok
1998 Antik, Budapest, Újlipótvárosi Galéria, (Gaál J., Kopasz T., Majoros Gy., Szurcsik J.)
1998 Ornamentika, Szombathely, Szombathelyi Képtár
1998 Lélektakaró (Soul Blanket), Vác, Greek Church
1998 Rögeszme (Maniac), Budapest, Budapest Galéria, Lajos street
1999 Zenélő szobrok (Sounding Statues), Székesfehérvár, Pelikán Galéria
1999 Gyönyörök kertje (Garden of Joy), Budapest, Pest Center
1999 Zene szemeimnek (Music for my Eyes), series, Pécs, Győr, Miskolc, Debrecen, Budapest
1999 Fém-Jelzés (Steel-sign), Budapest, Műcsarnok
1999 Áttűnések (Fade-out, fade-in), Szentendre, MűvészetMalom
1999 Ajándéktár (Stock of Presents), Budapest, Godot Galéria
1999 Megismerhetetlen Tárgy (Undiscoverable Subject), Vác, Greek Church
1999 Gesellschaft, Berlin, Hungarian Institut (Germany)
1999 Oil-Canvas, Ljubljana, Mestna Galerija, (Slovenia)
2000 Légből Kapott Képek (Pictures from the Blue), Eger, Keresztény Ifjúsági Klub
2000 Máskor-Máshol (Other Time, Eslewhere), Szeged, Móra Ferenc Múzeum
2000 Pára (Steam), Budapest, Vízivárosi Galéria
2000 Annual Exhibition of the Hungarian Sculpture Society, Budafok, Jazz Galéria
2000 Baggage, New York, Hungarian Embassy (USA)
2001 Milleneum Art Show, Budapest, Műcsarnok
2001 Feketén-Fehéren (Black and White), Budapest, Műcsarnok
2001 Misztikum (Mistical), Budapest, Vigadó Galéria
2001 Denaturáció (Denaturalisation), Kecskemét, Cifra Palace
2001 Orbis Pictus, A látható világ, A megfestett város (Visible Word, The Painted City) Veszprém, House of Arts
2001 Minden Más (All the Rest), Budapest, Magyarok Háza
2002 Exhibition of MA-MÜ Society, Kecskemét, Kecskeméti Képtár
2002 Looking over the Border I+II, Kunstverein Baden - Frauenbad, (Austria)
2002 In memoriam Lajos Gulácsy, III. Painters’ Triennale, Szekszárd, House of Arts
2003 Annual Exhibition of the Hungarian Sculpture Society, 2002, Budapest, Vigadó Galéria
2003 '90-es évek művészete (Art of the ’90s), Győr, Council Art Museum
2003 XVIII. Scuplture Biennale, Pécs, Janus Pannonius Múzeum
2003 Szabad –Tér (Free Space), Contemporary Hungarian Sculptures, Kecskemét, City Hall
2003 Európa Fríz (European Frieze), Budapest, MEO
2003 Maszk (Mask), MissionArt Galery, Budapest, Budapest Galéria, Lajos street
2003 Color, Komarno, Limes Galéria, (Slovakia)
2004 Szabad -Tér 2 (Free Space 2), Contemporary Hungarian Sculptures, Kecskemét, City Hall
2004 Exhibition of MAOE Fellows, Budapest, Palme Ház,
2004 Exhibition of the 1st Steel Sculpture Symposion, Kecskemét, KÉSZ kft.Csőhengerítő
2004 Európa Fríz (European Frieze), Vienna, Collegium Hungaricum, (Austria)
2004 Európa Fríz (European Frieze), Bratislava, Hungarian Institute, (Slovakia)
2004 Exhibition of the 1st Steel Sculpture Symposion, Kecskemét, Bozsó Collection
2004 Áramlások-Flow,Hommage a Gruber József, Budapest, BME Aula
2004 Kogart Salon 2004, Contemporary Art Fair, Budapest, Kogart
2004 András Feuer’s Private Collection, Budapest, Godot Galéria
2004 Labirintus, Budapest, Újpest Galéria
2005 Azok a 80-as évek (Those ’80s), (FMK) Budapest, Kogart
2005 Exhibition of the 1st Steel Sculpture Symposion, Budapest, Újlipótvárosi Galéria
2005 Mission Art Galéria is 15 years old, Budapest, Tóth Pub
2005 Áldozat-Engesztelés (Sacrifice), Budapest, Hungarian Jewish Museum
2005 Exhibition of the periodical Élet és Irodalom, Moskow, Journalists’ House, (Russia)
2005 19th Hungarian Sculpture Biennale, Pécs, Janus Pannonius Múzeum
2005 Csak bronzból (Just of Bronze), Budapest, Kispesti Vigadó Galéria
2005 Európa Fríz (European Frieze), Hungarian Insitutes, Stuttgart, Paris, Berlin,(Germany, France)
2005 Exhibition of the periodical Élet és Irodalom, Budapest, Galéria'13
2005 100 nyomat-100 művész (100 Artist – 100 Prints), Stuttgart, Inter-Art, (Germany)
2005 X.Socha a Objekt, Bratislava, Galeria Z., (Slovakia)
2005 2nd Steel Sculpture Symposion, Kecskemét, KÉSZ kft. Csőhengerítő
2005 Tér-Film-Zene-Fesztivál (Space-Film-Music Festival), 2nd Steel Sculpture Symposion, Budapest, Kossuth Square
2005 Neofoton, fotoprints, MűvészetMalom, Szentendre
2005 13 művész a XIII.kerületből (13 Artist from the 13th Distict), Budapest, AL Galéria
2005 Exhibition of KIPE 13, Szombathely, Médium Galéria
2005 Magyar Festészet Napja (Hungarian Painter’s Day), Budapest, MS Mester Kör
2005 2nd Steel Sculpture Symposion, Kecskemét, Nemzetközi Kerámia Stúdió Galériája
2005 Alternatívák (Alternatives), KIPE 13 Exhibition, Budapest
2005 Kogart Salon 2005, Contemporary Art Fair, Budapest, Kogart House
2005 A Láthatatlan Művészet (Invisible Art), Budapest, Hungarian Writers’ Association
2006 Exhibition of the periodical Élet és Irodalom, Szombathely, Médium Galéria
2006 2nd Steel Sculpture Symposion, Budapest, Újlipótvárosi Galéria
2006 Galéria IX is 5 year old, Budapest, Galéria IX.
2006 Gyűjtemény (Collection), Dunaújváros, Contemporary Art Institute
2006 Mediawave, Open Air Sculpture Exhibition, Győr
2006 Tisztelet Arnulf Rainernek (Hommage a Arnulf Rainer), (Gaál, Kopasz, Nádler, Szikszai, Vienna, Collegium Hungaricum, (Austria)
2006 Art Camp 2005, Szolnok, Budapest, MA-MÜ Pincegaléria
2006 Leopold Bloom in Újlipótváros,XX. International James Joyce Symposium, Budapest, Újlipótvárosi Galéria
2006 Exhibition of Hungarian Litography Association, Gooi, GAG Galeria, (Holland)
2006 Európa Fríz (Europe Frieze), Exhibition of MissionArt Galéria, Roma, Hungarian Academy, (Italy)
2006 Európa Fríz (Europe Frieze), Exhibition of MissionArt Galéria, Moskow, Hungarian Center...

Artist Publications



1958-Szeged,Hungary
1977-81 Academy of Fine Arts,Faculty of Painting,Budapest
1987-90 Derkovits Scholarship
1989-90 Pollock-KrasnerFoundation Scholarship
1991 Barcsay Foundation Prize
2000 Munkácsy Prize

Member of the Hungarian Foundation for the Arts and the Hungarian Artists Association...

Artist Collections




Works in public collections:
Mátészalka,TITÁSZ
Békéscsaba, County Library
Szczecin, (Poland), Muzeum Narodowe
München, (Germany), City Collection in Mayor’s Office
Budapest, Magyar Nemzeti Galéria (Hungarian National Gallery)
Budapest, Stúdió Archívum
Dunajska Streda, (Slovakia) Collection of Kortárs Magyar Galéria
Paks, Paksi Képtár
Dunaújváros, Art-Ma Foundation
Salzburg, (Austria) City Collection
Kisújszállás, City Collection
Turku (Finland), City Collection
Szentendre, Ferenczy Múzeum
Tatabánya, City Collection
Vác, Tragor Ignác Múzeum
Győr, Városi Művészeti Múzeum
Sturovo/Párkány, (Slovakia) City Collection
Szombathely, Szombathelyi Képtár
Budapest, Foreing Affairs’ Ministry
Kecskemét, K-ARTS KÉSZ Art Collection
Olaszliszka, Kossuth House
Veszprém, Europe Sculpture Park
Gyergyószárhegy, (Romania) International Art Camp Collection
Mosonmagyaróvár, Hansági Múzeum
Mati-Manas Collection, Jaipur, (India)
GébArt International Art Camp Collection
53Art Museum, Guangzhou (China)



Works made for communal and private commission:
2003 Crossroad Project, Győr, Bratislava, Graz, bronze relief 30x30 cm
2005 Győr, Gyárváros, Puskás Tivadar utca, Emlékmű - Gyárvárosi reneszánsz) (Monument – Factory Borough Reneissance) steel, bronze, 160x90x90 cm
2007 Baja, Eötvös József Főiskola, Szegedi út 2. Térgesztusok I.-II. (Space Gestures I-II.)– coloured steel, 1200x150x100cm, 450x150x140 cm
2009 Budapest III. Kunigunda utca, MTV-headquaters, Csodabokor (Magic Bush) – coloured steel, 320x240x200 cm

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