General I obtained my MA Degree in Painting at the Hungarian University of Arts in Budapest in 2013. From the very start, I have been painting with oil on canvas. I am currently living/working paralel in the capital and in my hometown close to the Slovakian border on the North of Hungary. In my work the simultaneous application of various style materials, colours and compositional practices is a significant element. Traditional and modern is closely connected; I adapt the stylistic results of postmodernism consistently, whereas my elementary painterly attitude remains figurative. About the theoretical inspiration and foundation of the work So far I had been in a state familiar for most of us: having all the possible questions regarding the cause and nature of existence pending in me, paired with that silent but persistent frustration caused by the lack of a proper answer. I come from a Catholic background; but because of some reason, the frozen states of heaven and hell, and thinking in terms of good and evil troubled me a lot. The seek after an ultimate truth (and my adoration of Marcel Duchamp’ work then) led me to be concerned with the idea of the 4th dimension. In the beginning I thought about it as an exterior place; a paralell superior universe, where one could phisically go to, let’s say, through a wormhole. Soon I had a clear vision about how I would experience the 4th dimension: I imagined it as if everything would have happened at the same time: in a certain point of space, the forms have ever existed, the ones are existing right now, and those would ever exist in the future are all presented. They transparently overlap and percolate through one another. From that point, I neither called it the 4th dimension, nor thought of it as a place anymore, but regarded it as a state of mind. A way of experiencing things. That they are in a constant flow. How could I make sure of this flow is closer to the nature of reality than the static scene what we physically and day by day experience and interpret as ’real world’ ? In which form had the atoms of the chair I’m sitting on existed a billion years ago? Where will the atoms of my body be and how will they look like two eons from now? What happened throughout the previous centuries on that very point of space where I brush my teeth every morning? These train of thoughts were running paralel with my ongoing absorption into Vajrayana buddhist teachings and a profound meditation practice called ngöndro. While sitting on a cushion on a daily basis, I experienced that my thoughts and feeling are as subjucted to a constant change, such as any outer phenomena. Later on, having met theories of 20th century physicist David Bohm about the ultimate nature of physical reality has further deepened my interest. Bohm says that „the ultimate nature of physical reality is not a collection of separate objects (as it appears to us), but rather it is an undivided whole that is in perpetual dynamic flux.” Bohm also mentions that „the ability to perceive or think differently is more important than the knowledge gained”. The underlying motif which filters through all my canvases is the permeable, floating and dynamic quality of the spatial and temporal states of the world of which parts are interconnected on several levels. It is not a theme or concept in itself, but my overall approach to life. It remains silent behind the scenes I’m painting, but is always present. It works as a subsurface mental attitude when dealing with any topic I am drawn to. I take great pleasure in applying several layers of paint, or handling the figures, objects and spaces in different manner; what I regard as a visual metaphor to our endless layers of thoughts and interpreations which are embedded in even the simplest situation we are faced with.