The structure’s chains are unglased, because of that, the porcelain pieces dosen’t stuck together in one pozition after the fireing. The form / composition is varriable, and the sculpture is able to react as sensitive subjects to external influences. I usually work with slip casting technology. This “Mass production” can ensure quality and quantity in mass that can be used as an artistic tool as well.

The logic of the moving is easy to understand and learn. You could change the form and the composition when ever and what ever you want, and prepare a new work form the same one. There will be an active relationship between the object and the owner, and each and every time this can result in a different conclusion / composition.

I am a porcelain designer. Ceramic and porcelain art has traditional bounderies because of the material’s role in everyday life. When people think about ceramic / porcelain, they usually think about well-known representative forms, and common tactile impression az well.

As an artist, I play with the gap between the traditions and innovations. Usually I work with, and sometimes work against to these preconcepts, like: tradition - innovation, fragility - flexibility, timeless - temporary, worthless - valuable, quality - quantity, the surface of the glased and unglased porcelain, hight quality - mass quality, etc.

My aim was to make people rethink these preconception, and meet with the porcelain material in a new way. When the owner realize that the structure made from porcelain, and the sturcture is mobile, their confession became even greater. The sound of a material and the beauty of the clear porcelain’s colour, and it’s tactile impression helps to maintain this relationship. This special situation helps to realise how beautifull material is the clear and pure porcelain.

During the perception of a work of art, regardless of the creator’s or designer’s concept, the object is interpreted individually. This not only creates new approaches, but also changes the situation of the object, and this influences the creation itself also. These influences are flexible, and sometimes could turn into opposite, and this flexible porcelain sclupture shows these rules's flexibility with it's mobility and varriability.

Year of Creation: 2018

Materials: Porcelain, Limoge

Dimensions: 44*22*18



    2005         Master,MOHOLY-NAGY UNIVERSITY OF ART AND DESIGN BUDAPEST,Vizual Communication Teacher

    2004         Master,MOHOLY-NAGY UNIVERSITY OF ART AND DESIGN BUDAPEST,Ceramic designer

    2016         Technical And Further Education(TEFA)Training School for the Hungarian University of Fine Arts - Jeweller degree,,



    2004         Diplome Work,Diplome Work,Budapest Hungary

    2007         Contemporary design of Zsolnay Manufacture, Hungary,Contemporary design of Zsolnay Manufacture, Hungary,Pécs, Hungary

    2014         KJUB,KJUB,Kecskemet, Hungary

    2012         ?Layers” ,?Layers” ,Budapest, Hungary

    2014         ?Fragile Materia” ,?Fragile Materia” ,Budapest, Hungary

    2017         ?Multilevel Materia”,?Multilevel Materia”,Budapest, Hungary


    2006          Vince Wartha Foundation,Hodmez?vasarhely, Hungary

    2007         International Ceramic Studio,Kecskemet, Hungary

    2010         Muzeum of Applied Art,Budapest, Hungary

    2014         Foundation for Contemporary Ceramic Arts Hungary,Kecskemet, Hungary

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