Paintings / Festmények /

Chronological list of paintings

Festmények kronológiai listája

The Mighty Voter

The Mighty Voter / Hős szavazó

2026

Oil on canvas

109,5 x 155 cm

"And all good-will shall turn to good at last. And the glad joy which was foretold of old Shall to the sky-men's towers go up full fast." Enduring nonsenses, Rabelais

"És jótét lesz minden jóakaratból. És az öröm mit jövendöltek egykor, Az égi emberek tornyára rámén," Maradandó sületlenségek, Rabelais

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Head of a crying boy (Prince Charming)

Head of a crying boy (Prince Charming) / Síró fiúfej (Mesebeli Herceg)

2025

Oil on canvas

120 cm Ø

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Queen with jeweled headdress in the shape of a heart

Queen with jeweled headdress in the shape of a heart / Királynő, szív alakú, ékköves fejdísszel

2024–2025

Oil on canvas

105 x 140 cm

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Pentimento No.4

Pentimento No.4

2009–2025

Oil and acrylic on canvas

140 x 110 cm

Pentimento No.4 in situ
Pentimento No.4, detail
Pentimento No.4, detail

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Holy Hollow

Holy Hollow / Szent üreg

2022–2024

Oil on canvas

100 x 155 cm

The painting was inspired by the war that erupted in a neighboring country. The creatures depicted exist in a natural state, where brutal life contrasts with a sacred space, emphasized through a Baroque-style chiaroscuro effect. The amoebas eating each other, allegorizing related nations' warfare, are recurring symbols. I have used it for my paintings before, the feeding structures of the Brain-Eating amoeba have a face-like appearance, in many cases similar to a smiley. For me, they perfectly embody a chaotic existence where rational, order-seeking thought has no chance; after all, they destroy the very organ that houses thought: the brain. The creation of this painting was a complex process that unfolded over two years. It began with a long sketching and preparation phase, during which I utilized both 2D and 3D software to construct the composition. Next, I moved on to the underpainting phase, which began after multiple priming layers on the canvas. Instead of using the traditional grisaille technique, I applied my version and painted approximately 25.800 spots over another six months. The purpose of this method was to avoid the dull flatness of shadowed, brownish surfaces and instead create rich, vibrant patches of color. Finally, the painting was completed using classical layering techniques and a play of textures. The translucent, iridescent surfaces were treated with thin and even layers, while the rough, granular areas were built up with thickly applied paint for a more tactile effect, creating a contrast between them.

Underpainting for the Holy Hollow
Underpainting for the Holy Hollow / Szent üreg aláfestése

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