Page 90 - Winter Issue
P. 90

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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