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A virtual visit to my workshop

A lot of people are interested about my workshop, about the things that surround me during work.

I created a virtual tour taken from images of my workplace.


készülő portrék

When I am working the outside world just stops for me. I immerse myself in the joy of creating. I can be glad for days when a figure that I just came up with comes alive.

It always calms me when I take on my work clothes, and I can touch a cool piece of clay.


Ceramics always get their colors in the final phase of the process, until that, I only work with the grey clay. To make up for that bleakness, I painted some of the doors and windows with vivid colors. Installing good lighting is essential, in order to see the real colors – the white walls and the skylights were made for this purpose.


I don’t use any multiplication techniques.

The creation of a figure is made from a lot of phases, thus, I make several objects at the same time.


      kutyák       kukacok


For example with a bird:

I first throw the basic forms on the wheel, and after leaving it to dry for a few days, I can then piece together the bird. I create its posture and form the actual personality. I simultaneously make 4-5 pieces from one type. While I put them together from similar basic forms, they all express different things, by having different gestures. By changing the proportions of the basic forms, I can come up with an entirely different character.





Modelling the face, the look of a figure is especially exciting for me as this is the way I can give my sculptures their own personalities.




When the personality of a particular figure takes shape in me, I carve the fitting design into the leather-hard clay.

After a few days of drying, I paint the color mood of the object with earth paint. Then I fire it on 950 degrees.


    ecsetek   kutyák


It is followed by the glazing. I rarely use glaze on the entire surface. My aim is not to cover the whole surface of the figure, I prefer the joyous contrast of the different touch of surfaces. Therefore I only add glaze to certain parts on every figure.

Now comes the second firing on 1200-1300 degrees. Even after 30 years I always open the kiln with a great level of excitement, as in this type of work, the final image always comes after the influence of the heat from the second firing. The fact, that a group of figures created at the same time reflect my then current state of mind also gives me great pleasure.

     szobrok  szobrok


  munka közben  szobor  műhelyem


    cicával  cicával


    szobor  szobor






Clay, this plastic material is an easily formative ’earth’, if I step into it, it preserves my footprint, but a moment later it shows the trace of another effect.  If we put it into fire, it gets stiff, and preserves one moment from the constantly flowing time, making it permanent. Making ceramics is nothing else but learning about the ancient forces, mainly earth and fire. It is a very exciting game. The more I learn about it, the more I realize how little do I know.

I principally make figural ceramics. I am interested in people, their relationship with themselves and others and the surrounding world.






About the technique

I use half-porcelain, porcelain, and high grade fire chamot clay. I fire my works 1100-1300°C (2012-2372°F). On this high fire, clay solidifies on a such a great level that it loses it  permeability thus it becomes frostproof. This is essential with my garden sculptures and vessels. Besides electric firing, I also love to use other techniques such as the woodfiring for reduction firing; raku firing, salt gaze firing, and gas reduction firing.