Gizella varga Sinai Transcript and Audio

Gizella Varga Sinai

Audio of the Entire Interview

Interview Transcript

Part 01

I was born in Hungary in 1944

December 1944, which was actually 15 days before the end of the year

and 1945 was the year the so-called war ended in Hungary and all of Europe

My father was an opera singer

Of course he had graduated from the academy and was very hopeful to
Start another career as an artist, a singer

but the war actually destroyed all his jobs

The capital is usually the busiest place, and the war there is very, very fierce

We went to my grandfather’s house, which was about 50, 60 kilometers from the capital.

Our misfortune was that most of all the Russians came there
and the Germans did not want to go and then the war intensified

I mean I was born in the middle of the worst conditions

Then my father swore he would never have a child
Because it was really hard and very difficult

My life started with such a background and well after the war
Hungary, which was really destroyed

we actually saw our house being bombed and razed to the ground
and we had no more houses

We went to a place I like very much
And every year I go and see it, near Budapest

It has a forest and it is very beautiful, very beautiful

I spent my childhood there until I was 10, 12

My father also worked in a printing house and a series of books
They would bring home the books that were supposed to be kneaded

We used oil lamps at night, because for a while there was no electricity

I remember well that when I was about 4, 5 years old
Dad used to tell beautiful stories from this book

I still have these books with me

meaning the books that were to be kneaded
World story books???? Which I liked very much

But there was a book with a background on Iran
That book was called The Thousand and One Nights

One Thousand and One Nights was one of my favorite books which my dad would read to me
And I was imagining, for example, what happens there and how it happens

I remember saying a while later when I met Mr. Sinaei
If I had a son, I would really like his name to be Abdullah

Why Abdullah? Because that name was in the thousand and one nights and I liked it

Next, for example, I want to say that it was something I remember
Later when I came to Iran and saw that everything is the same

For example, it was about the king, it was about the jewelry, for example,
wherever a person goes, there is jewelry

I remember my mother making compote from black plums
And we did not know what pistachios were, I said I would bring pistachios for you now

Then, for example, he would bring the plum compote and we would eat that plum
And we’d say this is basically the same pistachio

I remember later when I came to Vienna and met Mr. Sinaei
His mother sent pistachios for Eid, He said My mother sent pistachios

I looked at that pistachio, I said oh what is this
Pistachio was something else for me

In short, I want to say that all these stories somehow remain in my mind

And in that oppression and that very difficult period, there was something for me
It was beautiful stories and myths

which went on like this and after that I got bigger
And I was literate myself, book were of the most important companions of my life

this story went on like this and later when I was a teenager
I can proudly say that in that system and oppression and period

What we had was like a lie, it was literacy

And I can say that when I went to Vienna later after graduating
They wondered how much higher my literacy was than my diploma

I remember, for example, that I was 16 years old,
When all the Myths of the world, myths especially attracted my attention

I read the summaries of all the myths of the world and
I still have their books

I have a book that is an excerpt from Shahnameh
I read Saadi

From Khayyam, I had some very good translations, one of which was translated by FitzGerald
and a few people who have translated from Persian

Anyway, all these stories were with me, so when I came to Iran later
I had a background that, for example, the East was a very attractive place for me

As I stepped forward and got my diploma, my father still thinking
and It did not get out of his mind that he wanted to try his luck abroad

Then my father and I decided to go to Vienna after graduation

But going to Vienna was a story in itself, meaning one had to be taken hostage
My mother was held hostage

That means we decided if my father could be hired there, for example in opera
We stay and they forgive us after another five years and my mother could come too

My mother, who had heard from my father for a lifetime that they could not stay there and had to leave
We wanted to try it out

I graduated there, but before I graduated
At the age of 13, I loved all the arts.

I loved writing
and I have won the Young Writers Award several times

I always painted next to him
Anyway, all of these arts went hand in hand in parallel

I just knew that later on
my way would be in art, writing, literature, I loved all these things

It got to the point where I got a diploma and our second foreign language was German
that I was very much looking for our German to be good and we could go abroad with Baba

In my heart I felt my father might not stay, he was 47 at the time

I said no problem; I solved this big puzzle
That’s how and why everyone wanted to go there

Let me see how it goes and if my dad comes back, I want to stay there right now

I had some friends and acquaintances, for example, I got the address of one of my friends’ aunt
and so we went to Vienna

With difficulty we got a time to meet the director of the Vienna Opera
And my father, who was a tenor singer, sang like Pavarotti and Karuz and had a very beautiful voice

Of course he really wanted to be a Wagner expert (Richard Wagner), his voice was very beautiful
had sang, they liked it a lot but said you are old for us

Now my dad was only 47 at the time

I said in my mind that now Baba is going to go back but I will stay

My father was very upset. Then we were supposed to go to Salzburg if not Vienna
and try it there too

But he said no more, to hell with them, I do not like these Austrians at all
I miss your mom and I want to go back

I also said Dad, now that I studied German, I want our German to be better
If a situation arises for me, I want to stay a few months

He asked where do you want to stay, how?
I was between 18 and 19 years old at that time

Then we went to my friend’s aunt who had a small box factory

I said I wanted to go to a family or a place where I can work
Either I want to be a babysitter or anything else I want my language to be good

He said very well. There’s a girl boarding house in a convent here
In which everyone is foreigner

They said the university is starting, well we will give you the facilities
If you can stay here, you will help us too

In the morning, for example, you could answer the phone in the morning, my German was not bad
Help with the kitchen and wash if there is a dish

Let me also say that we had a hard time
We came out of our country with fifty dollars, I mean we could not bring more at all

Anyway, I started working there and very soon, a few months later
I got a scholarship so I could go to university

This was the story of Vienna and then again it was not as hard as Hungary
Entering the academy in Hungary specially in painting, was also very difficult

But fortunately it happened in Vienna

Part 02

I entered the Academy ……. that is, the Faculty of Fine Arts

I met Mr. Sinai in Vienna and well,
He was also working on a summer job

Incidentally, we were not in the campus at all while we were both studying
And we met on a summer job that we both did

We were in a group that decided to cook a national dish each
And so it happened that we became friends

And then very soon, I think in two months or three months afterthat, we got married

Because it was kind of a rush and it was a matter of residency and staying or not staying in Vienna

It was also a story of what a negative view they had on communist countries in that period

And how difficult it would be if my mother and I wanted to meet

It was hard, but I was an adventurer anyway

I was in Vienna for almost 2 years, then Mr. Sinai, who was there for 9 years
finished his film and said that we had better go to Iran

He said I could not wait another 2 years
My parents are old and we’d better go back

And this is how we came to Iran together

It was a very, very interesting period when we were in Vienna

In the sense that we went to numerous concerts, theaters and exhibitions
We had a very, very good student life

Then in 1967 we came to Iran

Living here was also a very interesting period

Mr. Sinaei’s family was very warm and kind
But they were a big family

I did not speak Persian at all at that time

I remember that when we came to Iran, it was summer and every time they rang the doorbell
people came in with a big basket of gladiolus to greet us

I would walk around the bedroom and start crying again
Then Mr. Sinaei came to me

Well, I did not understand anything, they were sitting around
They looked at me or talked to me

It was hard for me, I was an only child
My father was a man who would not open his door if he did not love someone

Suddenly I came across an army, a group of people who did not know eachother’s language well
Of course, fortunately this made me speak Persian 5 months later

Then in my exhibition I could answer the questions
I adapeted to the situation very soon

Well, it was hard, but it was a beautiful moment

For example, one of these moments that might be strange for one was when
I remember we traveled by land and then had breakfast in Istanbul

They brought us Orange blossom jam and buttermilk
At that time, we could still eat butter, but now we do not

Then I remember saying that it is impossible for a person to make jam from a flower

The taste of that jam or, for example, some very small things
I remember it made me very happy

Or Eid, for example, there were very small sweets like chickpea bread
These things, these tastes, these moments were very, very beautiful and good

When I first came here, I had no idea what the art scene was like
And what is the news about art in Iran?

Fortunately, I had the chance to meet
Mr. Jazeh Tabatabai who was a very close friend of Mr. Sinaei

For example, Jazeh was the one who encouraged Mr. Sinaei toward art

And his first book of poetry was published in his new gallery the year before then

That’s why I met him and then he saw my college work
I was very upset and I was saying what can be done and can it be done at all?

He told me that it is a very good work and I will have an exhibition for you in 5 months ……

I was very happy and started working

And I really had my first exhibition after 5 months of being here

Immigration was like a new land for me to discover
That became the basis of all my work

I mean, I still think of it as a long journey that is not over yet

For the rest of my life, I think Iran has something for itself
Which I can still discover, I can bring in my paintings, for example

And another thing I think is that Iran
In contrast to, for example, a thousand years of history that we Hungarians had

A country with this greatness and history
I think it does not belong only to Iran, that is, I think it belongs to the world

And that I, as a painter, came from somewhere else
And the basis of my work is all issues related to Iran

I think this is also an issue that we can show to the world

What I told you before is about a thousand and one nights
Regarding the books I read, about world literature

There is another thing for me that coming to Iran
motivated me a lot to really discover the world here

The reason is that we Hungarians have a thousand years of history, we do not have more
And there is always the debate over where we actually came from

Some linguists say, for example, that we certainly came from Asia.

But for example, some of them say that our language is similar to Finnish
But some say no, it does not look like that at all

Anyway, we came from Asia to Hungary and settled there

Then for this whole history we are somehow involved with this story
For example, we are Eastern

The truth is that after Vienna, which was a good period for me
When I came to Iran, I really felt like I came home

That is to say, in a kind of Iranian temperament, the people were in many ways similar to the Hungarians
Now they may be Europeans and here we are Iranians

But many things were similar

And I did not feel strange

Even this new culture was very motivating for me

First of all it was that there were alleys and people that existed

For example, suddenly you saw a carpet seller in the street with two beautiful carpets
on his shoulders and he was selling them

Suddenly the alley would turn gray
And it was a motivation for me in terms of painting

Or …… who, for example, would have sold toys
Or the rattle sellers whom all the kids were running towards at once

Or at that time there was even a lot of idiots we saw
We lived on Villa Street at the time

For me, all these things included people who had a life and a destiny

But still felt like I was someone
who came from somewhere else and all this caught my attention

In 2001, Ms. Osuli and I formed a group called the Dena Group

And included 12 female painters, which was also a great experience among colleagues

That is, 12 women who were gallery owners were teaching
And they were very important painters

And we held 27 exhibitions abroad during 5 years
It was mostly abroad, in Iran it was held only in counties

Of course, some people died, some people went out of the group
Now we are 5, 6 people that if there comes a situation arises we would continue to work

And we also had female guests who are now famous
And are active

If a situation arises, we would like to do something
But for now, everyone is working for themselves

It was a great experience and I think it was very effective
Because I think our young women are doing incredibly well right now

The period we started working on was all questionable
Whether we can be successful as a women painters or could we work?

Now it has been proven that we were very good

In the meantime, I generally think that any influential group wether is is a painting group
or athe band, it does not require more than 5 or 6 years of activity

Like the blue group of Mr. Nami
It had been active for 5 years, but that activity is very important

Now some people have written their doctorates about us

And we are very happy that, God willing, when Ms. Osuli returns
it continues and also turn into a book

We have a lot of movies, and we’ve had a lot of important trips overall
We went to many places, everywhere, from China to Norway and Italy

Part 03

I have been associated with painting since childhood
I have been working since I was 13 or 14 years old

The first time I went to Vienna, except for the story of the college where I had night classes
There was a free academy where I also worked

I mean, painting was with me in a way until I came to Iran

In Iran, after 5 months when I held my first exhibition
Between us, it was like a liberation for me

At first I was worried, but then Mr. Tabatabai left me a …..
And he said he had 5 more months for the exhibition and I started working

I felt like I was free from captivity

The truth is that the academic atmosphere was very, very boring for me

I mean, I felt that after Hungary, the academy was kind of ruined
And he was conservative, I didn’t do very well in the academy

I mean, it was the way I thought it’s not what I want

When I came to Iran, when things happened
And I saw what was happening around me

I somehow felt that this was it, that I had to go this way
And in fact, it completed my activity and work during this period of my work for my first exhibition

The first exhibition, as I said, was still somewhat influenced by Europe
A series of issues that came from the Eastern bloc

For example, a girl who plays with dolls or sells balloons
All these things that I had brought with me with that exhibition

But the other half was influenced by the atmosphere in Iran, and as I was progressing
More and more Iranian themes became part of my work

One of the most important things I did at the time was the work of a Kalepaz

For example, we Kalepache in our own culture too
We chop it and eat it another way

For example, no one sees the eye that is looking at you from the head

But I was dying and I was saying why this is so
Then the gentleman who was cooking it in the steam

Somehow, for example, it was associated with a series of surreal subjects
That I was doing these

Or, for example, when there was a wedding, I remember those weddings
There were 150, 200 guests in these big hotels

And they all wore beautiful clothes
Then they said dinner, the head of these sheep with lemons in their mouths and things like that

Suddenly they started moving because you were pulling one of them, one of them

It was a very surreal atmosphere to live with this happiest moment of life
Suddenly, for example, a sheep carcass was there to eat

All of this created surreal themes
That I liked these very much

And now Kalepaz artwork is in the collection of Georges Pompidou Center

But the period when I came to Iran
Figures of people in the street and market were not very common

Everyone who came from abroad, they brought
Op Art, for example, the movement of visual art

One worked, for example, full abstract
Many even said why do you paint these people

I remember that time there was an exhibition at the Iranian-American Association
It was with Mr. Marco Gregorian at the same time and he bought the work, Kalepaz

Then, as he was leaving, he brought the effect back to me
And he said that I can not take my collection of works so I leave this to you

There were circumstances when no one understood my works and said why

I had a painting that was accidentally destroyed
The subject was Sizdahbedar picnic with a fat, big woman

They said, “Why are you painting these women? For example, you painted your mother-in-law.”
Somehow they did not understand many of my works

But now they all follow those things and say those things of yours
For example, how interesting and strange the subject of the market and alley were

Well, I think because I saw these as an stranger, I noticed them
And it is possible that one does not see these things in one’s homeland, right?

This story went on like this and I held 3, 4 exhibitions
The last one I got the most influence from Iran

In other words, in my first exhibition, the influence of Iran was half and half, and some of
I had brought the Eastern Bloc into my work, but later I had more and more Iranian issues

The collection of dolls is for the war period, the little boy, the doll, the girl who, for example, with a doll
Playing is one of the primary topics that came to me from there

But in the second period of my life, there were blind dolls in my works
I worked during the war and they were influenced by Khayyam’s poems

That is, suddenly the Iran-Iraq war started and suddenly my world broke

In the meantime, I started reading Iranian poetry and somehow the first
There was a state of protest as to why this should happen to man

It’s like my birthday was during the war
It was repeated again and again now is the period of war

But then I reconciled with this story and when I read most of the poetry and philosophy of the East
I came to the conclusion that yes, life is like this, it has ups and downs and war and peace

And then I created the Persepolis collection
During that period, everything calmed down in me and I reconciled with these thoughts

And with this philosophy, which happens to be Eastern philosophy, being and not being, life and death in the East
Somehow I reconciled with the passing of sobriety

Those parties may reject this philosophy and say no, it is not like that at all
But I think everything that happens in the East is somehow part of destiny

That is, despite the disappearance of that period of Persepolis greatness
The figures and kings of the throne rose

What is left of Persepolis as a statue
I see that there is always something alive next to it, either positive or negative

That is, there is a voice that, yes, once there was such greatness
And now life is flowing and this cycle is repeating itself

Philosophical thinking of going and being as a subject
remained, but was accompanied by the theme of faded walls

That is, the subject is the same and only its element is different

Persepolis is an epic subject
Because his sculptures are also somewhat dark and epic

That is, I was painting a whole painting
Then I would decide what to keep and clean the rest, ruin it.

The rest was destroyed because I might just want to
keep two eyes that see each other

And to say that after centuries this love exists,
And these two eyes remain as a symbol

Or a hand that has a flower in it, for example, or next to it, for example, what do I know?
There is an ongoing violence or a goal, that’s it

I just talked about life and death
I talked about Iranian myths

And sometimes it was very interesting for me too
Western and Iranian myths are parallel

I bring these in the Persepolis collection, like, the figure of a cow

I was surprised to find out, of course, that I was studying
But I did not want to get into this story scientifically

But look at the cow, which is one of the signs of Persepolis
then enters Cretan culture and becomes a Minotaur

That is, he becomes a monster whose head is a cow and whose body is a human body, and then he is killed

Then we come to Spain, where bullfighting is still common
Bullfighting must have come from Mithraism and the cow figure

That is, we go from east to west
Sometimes a series of elements and symbols are used

Or the figure of Anahita, Anahita who is the god of fresh water and one of the gods of Iran
Well it goes in Greek culture and becomes Artemis or Diana

All of these things are somewhat similar

And with that in mind, I suddenly traveled south
I went to Qeshm and saw women with masks

And it is as if these masked women are embodied in myth
That is, behind that mask there is an eternal look, something like those mythical figures

And these women with masks and some sculptures are sometimes by their side
Again, in this way the past and the present are together

I was about 60 years old when I thought that Gizella all you talk about is about Iran
and you talked about myths, you talked about Iranian culture, so what about you?

What about me? That is, where did I come from and where am I going?

I mean, I wanted to talk about myself

And then I felt the need to give birth to my own identity
And to get some inspiration for the period I went through and grew up with

This collection is called a travelogue and is illustrated on very large plates
I mean, painted, they’re like coffee house school paintings, I thought so.

In old coffee houses that were similar in Europe
Narrators would come and tell mythical stories

In this series, I thought I was telling my own story
And then I can roll these works and take them from one place to another in a suitcase

That’s why I exhibited these works in 6 different places in the world
Twice in Finland, Austria, Hungary and last year in Georgia

And the Georgia exhibition happened to be very successful and interesting for me
Because it was both a post-communist atmosphere and they are oriental

They felt my work very well and communicated very nicely with it

There are various elements in this collection, such as a spell dress
What was my spell dress?

I really liked the idea of the spell dress
I said, “How are my magic clothes?”

You know what a spell dress is, for example, the dress of a warlord who was going to war
and the methodical sentences were written on it from the Qur’an

When the baby was born, this spell shirt actually protected him from harm.

I said to myself what kept me away from Bella and then I remembered then
that my drawer is full of letters, letters that my loved ones sent from there

I made a big collage and then printed it on the clothes
and the letters of my loved ones turned into two talisman costumes that are now in space

Or my other work is a suitcase from which a travelogue 15 meters long comes out
Which has both a poem and an image on it, which happened to be very interesting

As well as very large paintings with digital prints next to the painting

This collection is my last project, but always in these 10 years
each time I had an exhibition, I added one or two more works

I had a performance both in Vienna and in Hungary, which my daughter performed

It was my biography that was performed in the same space in three languages: German, Hungarian and Persian

There were different poems that my daughter recited

In fact, I have my travelogues ………………….
And the travelogue has no end and never ends, that is, the way it is next to it

But in 2011 I felt that the image of a glove was the theme of my work

I saw the picture of a flower when I saw it in different books and poems
And then in the Qajar period it came on doors and walls and pens and these thingsI saw the picture of a flower when I saw it in different books and poems
And then in the Qajar period it came on doors and walls and pens and these things

I did not like it very much and I felt it was too sweet
Like the baklava on which you poured the juice, it was eaten a lot and it breaks one’s heart.

I told myself that the flower is very decorative
It is full of decorations and forms

But then I thought, well, whatever it is, even heaven
It must be something upsetting

Heaven was not heaven, after all, the devil was in heaven first
Then it was Adam and Eve who were deceived and expelled from heaven

That is, we do not mean heaven in that sense
There is always something hidden in heaven

With this thinking, this period of work was created and instead of nightingales, crows and dragons came in the middle.
Or later I worked on a set of knives with pictures of flowers and chickens on them

Because in books we have these with the box, for example in old books
from the 17th and 18th centuries, when the chicks had several rounds (frames)

However, my works have all these elements, but well,
We did this mischief by putting a dragon or something on it

Or, for example, in another work, there is an extraordinarily beautiful cage with a heavenly scene.
there is a beautiful bird that wants to fly but is in a cage

Sometimes we do not realize it, we may be surrounded by paradise
But there really is a cage, there is another

You can play with this issue a lot, there are hundreds of thoughts behind it
Where this beauty has its limits and where it frightens and limits us

Part 04

people always look for something that is not theirs
Something to be motivated by

Well, I had the chance to come here
It was a city and a space where everything was new to me

Everything was always motivating

I do not know now if I return to my homeland, wether I’d be interesting
foor them too or not

Well, finally they were kind and showed me
But my characteristic there is that I discovered this world

I think now that I have discovered this world
It made me even richer in the art of my own country

I can not now and I do not care at all
to discover the issues there (Hungary)

My concern is to show Iran to the world
You know what I mean

And this was new to me and still is

But I think I came to Iran when I said that
And it was a very confusing and strange period

Many really copied the West all the time
For example, they all said that in France it is like this, in America it is like this

Or, for example, there were a number of traditional artists from another category
And they always had a quarrel with the artists of modernism and did not accept each other

It is also very interesting that we have traditional painters and I saw this experience in China because we used to travel a lot.

In China, I saw that alongside their modernists and really modern and up-to-date works
are also their classic paintings and their respect is brilliant

We have a contradiction with this story here, you know

Iranian culture and tradition have naturally influenced my work as well
This was seen in the very first series of my works

Then I became involved with them and literature and culture entered my work

Then there is the way I think people are the same all over the world

That is, whether I go to the countryside or to the city
I am very comfortable with this story

And I think now, for example, if I want to talk to the Queen of England
I speak naturally and comfortably and I have no feelings

And I still feel the same way about a person in his cottage

People are all worried about pain, they are worried about life, they are happy
We are all the same, it doesn’t matter much anymore

It must have been the first sects that were strange to me
But now I think it makes no difference

Knives and knives complemented this series of chrysanthemums

Because flowers and chickens are so beautiful and I thought that on these uncomfortable knives if
Let’s leave these heavenly scenes very interesting and incidentally this series was very successful

Because if we draw heavenly scenes on these tools, which are very dangerous
They soften one way and tell us why, it can be another way.

Then I suddenly thought that books, walls and all that are good

What can be done to make me feel that there is something in the middle of heaven
It can be upsetting that I can bring it and it started well

I use pomegranate and fish a lot
In general, I got acquainted with pomegranate as a fruit in Iran and I think it is extremely beautiful.

By the way, God bless Jaze, we both painted pomegranates
Then he finally said that you stole the pomegranate from me, why did you smoke the pomegranate

I said that smoking pomegranates is not forbidden, everyone kills pomegranates
Everyone loves to smoke pomegranate, pomegranate is a beautiful and heavenly fruit

And those many pomegranate seeds that have a few dimensions
For example, the jews consider the pomegranate as a symbol of unity because it has many seeds together.

Pomegranate is a heavenly fruit that often has dual meanings in my work
That is, it means both blessing and sometimes it is associated with blood

Here in this picture of war, good pomegranate seeds are a blessing
But we also remembered the war that there is blood

I first became acquainted with fish as a phenomenon during the Nowruz holidays
Which is in all Haftsins

And then, God willing, Iran has two seas in the north and south
I do not know how, but fish is a blessing

It can be both a blessing and a threat

I did two or three things, for example, during the war
I took a self-portrait of myself and Mr. Sinai with blood-sucking piranhas

However, it is very interesting that fish is always in my work

It was an exhibition for the environment that we went to Kish
Young and veteran painters went together

There was an exhibition in Niavaran and we all painted about fish
Which are now in danger of extinction and was the protection of South Sea fish

Again, I did two or three things on the subject of fish, and I happened to do these things
Suddenly I remembered how many fish I had caught so far

The fish topics themselves could have been a book from the beginning
I started smoking, I do not know, I think this is an inner thing

If I want to think about which courses I liked the most
Well, the first time I started working, it was very exciting

It was all excitement and I was always wondering if I could or could not

And I remember, for example, the exhibition that was held in Mr. Tabatabai’s new gallery
I was very happy, I had a strange happiness

It was as if I had reached a place where, well, the first exhibition was finally arranged
And I remember that Mr. Sinaei looked at me and said, well, now he has become a painter

The second feeling was the travelogue I started, it was a kind of confession

I felt I could do whatever I wanted
I can work with any technique I like

Even now, unlike Mr. Sinaei, I think this is an digital age
Although I do not know much, but I think it is amazing, it has so many possibilities

For example, we can print photos on canvas and
Then let’s combine it with my painting. I liked it very much

And I had a feeling like the first time I could do whatever I wanted
That is, whatever I feel

And I was so excited, it was so amazing

It was also very difficult because there were too many big pages to do on the ground for big things
Or I would put a table because it could not be hung at all and I had to work piece by piece and like a puzzle

But I loved it and still love it

I still feel that I still have something to say on this trip and travelogue

And I had every new exhibition
I added one or two pieces (of digital art) to it

The last time I had an exhibition in Hungary, I set up a magic tent
This magic tent is a very interesting thing

When you look at it from a distance, there are prayers like this
That ladies open their heads to open

When you approach it, all the motifs on that face are mine
From childhood to the present, that is, with the elements and symbols of life

For example, I was ……, then, for example, now my national card is all motifed

That’s why it was very interesting for me to use the digital technique
How to apply these motifs on the tent

And it was very, very successful, I like it, so to speak
And Conceptual Art is an exciting thing, and incidentally, it fits into this travelogue story.

And well, God willing, some ideas will come again
Now, for example, I have som thoughts that I will perform them for the next exhibition

Part 05