I was born in Paris in august 1976. With my Hungarian roots I consider myself as a European citizen and I had the chance to travel and live in different European countries. I have always been passionate about art despite studying philosophy, linguistics and geopolitics. As a child, I collected already art: postcards from European museums and lithographies. As a grown up, I opened a European art gallery in Vienna, Austria. And one day, I wanted to know what my hands were able to do... During an open studio day visit I met Lise Meillan, ceramist, and asked her to be her student. I discovered ceramics and little by little I tamed porcelain with my fingers, with my hands. The hand is my starting point. Starting point of creation, starting point of sensations. To touch and to caress is to access the intimacy of the human and to touch is also to access the intimacy of the object. All in all, touch, feel, compose, transform and arrange...
For now, it is forbidden to touch!
The warning "It is forbidden to touch works of art" is the foundation of visitor education in museums and galleries. Similarly, from childhood, the first prohibitions concern tactile contacts. These prohibitions serve to protect the child from external dangers and familiarize him with the distinction between inside and outside, between the familiar and the foreigner. By renouncing the pleasures of the skin and the hand, the child goes on to figuration and then to thought.
Yet what you have in front of you comes from a manual and tactile know-how. Paradox. My porcelain creation is an object to analyze as much by sight as by touch, so in its entirety. Touch is one of our 5 senses. It gives us information complementary to that provided by sight, taste, smell and hearing. Like taste, touch requires direct contact with a part of our body and triggers emotions. Unfortunately, we tend to neglect the sense of touch and its riches. The hands are the parts of the body that allow you to touch the best. The skin is thin and millions of nerve sensors or receptors give information on temperature, smoothness or roughness, etc. This information is transmitted to the brain by the nerves. The brain makes an inner image and can almost "see" a representation of the object that is in hand.
My porcelain creation must be desecrated and must be touched.
With the cushion that participates in the presentation and understanding of the work on display, I shake fetishization and I propose interactivity. The shape sinks more or less into the cushion that facilitates the manipulation of the shape and the glance then glides on the various facets that it would be more judicious to call curves.
To leave the contemplative attitude of the spectator is my goal.
The hand is my starting point. Starting point of creation, starting point of sensations.
Are my creations items to showcase, jewels, toys or GamePods from David Cronenberg's film Existenz? For me, they are kind of unrestrained pets, or even ignorant of the constraint. You must caress them to make contact with the material, with the porcelain.
At the museum, in art galleries, we contemplate forbidden objects with an immense desire to touch them but touching a work of art is forbidden. To touch is nevertheless to reach the intimacy of the human and to touch is also to reach the intimacy of the object.
Do not be a visitor anymore! Do not be a spectator anymore! Be an actor in front of my creations! Touch!
From now on, it is forbidden not to touch!
This hotel room will de devoted to an emotional feeling. Sculptures on the bed, sculptures on cushion and wall sculptures will participate of a real invitation to grip, far from sacred works of art that can only be "touching with the eyes".