The line between humor and pity is thin. It is the humor, and at times the ridiculous, that inspires and surfaces in my work. In my art I tell short stories informed by strong waves of feeling in my life. In the composition I use melodramatic tools of movement and stillness, gestures and attitudes, lights and shades. I have adopted theatrical lighting technique to express the inaccuracy of memory. My themes are of the intimate inner world, the utter indifference and extreme sel-absorption. The characters are often not shy from the grotesque and satirical exaggerations, or they also can be presented at an elevated state in celebration of the individual.


In my practice I rely on my sketches, photo source and the emotional memory that left an imprint in me at the time of inspiration. I am focusing on the essence of the character by taking them out of their environment to be replaced with a suggestive, timeless place. I engage in as little detail as necessary to share my stories as a result my work encompasses abstract shadow-like impressions to idealized realism.


The surface of my works carries my artist-presence of creation. When painting I embrace the physical quality of the paint; the guided marks left by strokes of palette knives and brushes are responsible for the painting’s vibrant presence. In my drawings the hard pencil marks attract the viewers to step closer to see the detail, thus breaking the limit of personal space and symbolically exposing my intimate self.


­­­­­­­­­My life in art began growing up next to my mother’s loom in Budapest, Hungary. In tapestry weaving, new colors are achieved by mixing different yarns into one string. This method left an imprint on me in the way that I use colors and texture. The treatment of the surface is the soul of the expressions of my paintings.


I received my formal studio training at Studio '91, led by Rita Kopek, in Budapest. An art scholarship took me to the United States in 1994. While earning my B.A. in Art and Theater, I studied fiber art at the School of the Art Institute in Chicago. Ever since then I share my time between the United States and Hungary.


I directed my focus to painting in 1999, when I devised a five-year plan. I dedicated those years to finding my ‘voice’ as a painter. My paintings are of people I observe. In my earlier paintings I was painting portraits of emotions and expression using the female form as my vessel. My fascination with the inner expression grew outward, and I became interested in the choices that people make, recognizing the distinctions in body posture and clothing that make a character.


Along with producing new work, I relentlessly seek opportunities to share that work with the public. My works have been exhibited in the United States, Hungary and Italy, in both solo and group shows.


Currently I am developing a series featuring a fictional character, "Irma May." This series required me to seek a new, multi media expression of graphite drawing with acrylic on paper. 

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