Page 90 - Winter Issue

Having taken ceramic classes and produced sculptures, how do the tactile aspects of sculpture influence
your creative process? Do these experiences inform your paintings as well?
I’m planning to combine the two and create more tactile, three-dimensional ‘paintings’, for example on a base of reliefs
or tiles made of ceramic.
Living in Spain and having grown up in Hungary, do these cultural landscapes influence your artistic style,
especially in how you portray femininity?
I wouldn’t say these two countries in particular have influenced my style. The biggest impact came from the museums I
visited and the art I learned about. I lived in London for a few years, where the arts scene is incredible, with hundreds of
museums and galleries.
Some years ago I spent a month in Athens and another in Sicily, both of which have deep connections to antiquity. The
architecture and sculptures there have had a profound effect on me.
You use negative space as a metaphor in your work, exploring ideas of presence and absence, self and
other. How does this "void" manifest in both your sculptures and paintings, and what do you hope
viewers feel when encountering it?
This is especially true for the figurative paintings. I often think about the relationship between the conscious and
subconscious, dreams and reality, and how we and our ‘self’ are connected to the external world. This is visible in the
paintings: they exist in a dreamlike state, a ‘void’, as if they were suspended in time and space.

Stoneware ceramic, 12x20cm each, 2024

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