You graduated from an excellent high-school and a few decades later your form-master played an important historical role.
So you had missed out on an entire year.
How did you get involved with the applied arts that are rather far cry from the priestly profession?
Was he a renowned ceramist?
But the time you spent in the workshop was only a brief two weeks.
Whose works captured your imagination, which movements, which currents did you perceive?
While you were in Paris in the mid-sixties, exciting changes began in Hungary too - and especially in ceramics.
Your career started in 1965, after graduating from the College. How did you create your workshop? Your first exhibition was held in 1971 in Oroszlány, the next one in the Fényes Adolf Hall in Budapest in 1976. What was this five years' silence?
You began receiving various commissions. Did you apply these principles in your work?
Your first independent exhibition was held in the Fényes Adolf Hall. How was it received by the profession?
István Solymár wrote about your works that glazes play an important role - which later became entirely insignificant.
How did the thematic group exhibitions come about? Were they inspired by some external circumstance or by an actual concept?
Was "Line" and "Colon" a generation exhibition?
Is there a generation problem today?
Let's return to the commissioned Thury works. Most of them are compositions linked to walls.
Do the needs of the commissioner provide an inspiration for you?
The next important turning-point ...
We have arrived to the Golem issue. The Golem first appeared in 1984 exhibition in Lajos street. The path to it led through the Kabbalah which continues to haunt your work. Why the golem? Why this mystical contextual circle, in spite of a myriad of other possibilities? Why the golem?
The golem sometimes appears in a fragmented form, sometimes in ruins, and sometimes as a benign creature, radiating cheerfulness, in other words, shrouded in contradictions.
One important circumstance is that during the seventies you made pure ceramics. With the golem there appeared materials alien to ceramics, and I'm thinking of the found objects, the objects linked to the ceramics, wood and rags. Then the ceramics part were gradually pushed into the background. The works became a collage, which can hardly be called ceramics and of which ceramics are only a part.
Coins, feathers, bits and pieces are linked to the small golems. This is how it began.
The States are an important element, scene of your work. You've been there a few times, you've worked and exhibited there. Did the States change the nature of your art?
Looking back at your thirty years of activity, it can be divided into two phases: until the early eighties, witnessing the birth of very suggestive, playful and decorative compositions with small figures, and the eighties and nineties when all this was succeeded by the Golem figures. Obviously, there are formal and intellectual similarities. I consider the object-making activity, which ended, as a kind of side-track. What's your view of the current situation of this branch of art, ceramics?
Do you work according to a concrete plan or concept, or do you just start working?