It has been our long-standing wish to send a monthly newsletter, giving you an insight into the life and work of the Gallery. It has been our tradition to feature one of our artists in each newsletter. We start with Attila Boros, as we have been working together for more than 20 years. We love his humour, respect his brilliant drawing skills and the beautiful colour harmonies in his paintings. Please welcome this interview with him.
1. Tell us about your family background, your parents. Were you an artist in the wider community? in your environment, what inspired you to take this path.
Both my parents had some affinity with art, but for me it could add up because there was never a moment's doubt that I would be an artist. My father was a sculptor, he had church commissions, and he was the one who said the most difficult and useful thing when I was growing up: "You will be successful when you are no longer doing it for success." Or, "Thousands of people draw like you, many draw better than you, but with humility and diligence you can outdo them." That's not necessarily what a kid wants to hear, but he was right. There was a period between the ages of six and eight when I neglected drawing, but then he took me to an exhibition of an artist's beautiful and detailed prints. Seeing the artist's diligence made me realise that an artist can't do anything without diligence, so I got a little hooked and that momentum continues to this day. In primary school I was nicknamed "Art Lord" and at the High School of Fine Arts I threw myself into my studies with such diligence that I never left the room during the seven hours of drawing breaks a day.
2. Who were your teachers, masters, role models? What experiences, lessons learned?
On the advice of the recently deceased Ákos Birkás, I went to study graphic design, because he saw in me the analytical, graphic design vein. The teacher of the painting department in the Gymnasium tried several times to convince my graphics teacher to let me transfer to the painting department. Fortunately, Gábor Gacs, the graphics teacher, insisted, so I was able to master the techniques of reproduced graphics, which led to many innovations in my later paintings. My defining experience in high school was the gathering of classmates and teachers around me at the presentation of the weekend graphics homework, followed after some silence by low murmurs, secretly mesmerised looks. I might add that the weekend, like the weekdays, was never a time for partying or drinking, but it was a sacrifice I had to make. Of course I was no saint, it's a wonder I survived adolescence.
3. You studied graphic design and painting in college. Currently working as a painter and or known as a graphic artist. How and when did you start your art career? (painting, graphic design) career?
I also graduated from college with a degree in graphic design, but even there I heard words of encouragement when I saw a colourful piece of work that I should paint. As a young man, I gave in to temptation and took on a few book covers, then a few more, and eventually fell in love with the fantasy, sci-fi genre and put together an album. Daniken wrote the foreword and it made it to America. I learned the tricks of hyper-realist painting, but somehow I didn't think it was a big deal. A lot of people are amazed to see a painting like that, but it's actually a very easy genre, I needed more. I got fed up and gave up a steady income and moved on to art with a capital 'A'. I showed my first attempts to Endre Szász at the opening of an exhibition, because I knew that he was up to the mark in both graphics and painting. He invited me to Varda, where he lived, and took a closer look at my work. I still remember his words when he saw my painting "Saint Jerome": "This could be a big thing. Then he gave me painting and other advice. Never take drugs." I did, and I did, and I said, "First get your philosophy straight, then start your career." I did, and instead of the depressive self-analytical attitude the profession expects, I will promote beauty and harmony. Instead of showing the world a mirror, I will try to show an uplifting way out with my pictures.
4. How do we imagine the creative process? What goes on inside you when you paint while? How does the creation itself make you feel?
The work begins with a confusion, from which order emerges. For me, line is the most important thing. The dynamics of my paintings are determined by visible or invisible lines. The colours and motifs in my paintings all demand space on the canvas and I help them find their place. The beginning of the work is dominated by primordial force, towards the end by professional knowledge. There are some moments in an artist's life when he or she is just
is a witness to the miracle in the making, and is baffled by the result. These are not bad moments!
5. Do you think your style has changed over the years? If so, how?
It must be difficult for anyone who tries to pigeonhole me. With all due respect to those who can pull off their entire oeuvre in one style, I would bore myself to death if I couldn't experiment. For me, the idea to be expressed always determines the style. It's inconceivable for me to paint a spinning jazz scene in the same style as, say, the birth of Jesus. In jazz pictures, everything is subordinated to the music. I don't care what an instrument looks like. The saxophone, the double bass curves as the dynamics dictate. Even in my dance pictures, the movements are exaggerated, because the point is not to create anatomically perfect figures, but to let the passion of the dance permeate everything. In religious images, it is the representation of divine light that is most important. Style for me is always justified and not an empty show. If I had to report a change, my style has changed over the years in that I leave less accidental beauty on the canvas, I create more consciously. I think I represent a new type of artist, one whose several different styles are present at the same time, rather than following each other in cycles of years, as in the case of Picasso, for example.
6. Are there any artists (not just visual artists), who you genuinely admire, or who inspire you in your work?
I love all kinds of art, from Fra Angelico to Chagall, good art is as good in the Gothic period as it is today. Sometimes I get the urge, after all the self-expression, to go into the ivory tower and make studies with the humility of medieval craftsmen. I slip into the skin of a Baroque painter to turn the experience into my own style.
7. Which exhibition has been the most memorable for you so far?
This is not in question. I've had exhibitions in larger venues, reaching thousands of people both at home and abroad, but my best experience was my 2014 "Hungarian Saints" exhibition at the Vándorfény Gallery. Those who were there will understand why. The opening of the exhibition by Bishop János Székely, the beautiful music, the look on people's faces, everything was successful there. The exhibition was like a recharge provided by the short ports of call during a long cruise. Unlike an actor who gets the applause every night, for a painter the exhibition is the opportunity to assess whether he is on the right track. It's a few hours to manage until the next exhibition. Sure, the Facebook likes give some illusion, but the real joy is the exhibition.
8. As an artist, what do you consider your greatest success to date?
What is success? The Kunsthalle Audience Award, the Best Book Illustration Award in Germany? My public sculpture, or hanging on the walls of celebrities? I don't think so. Success is when I achieve the unsurpassable in relation to my abilities.
and it doesn't matter if people buy it or if anyone has seen it. It's almost impossible to reproduce on canvas the image that is born in the artist's mind, but it can be approximated by a lot of work. Sometimes the end result is as good as intended. Such was the case with my painting of the death of Jesus on the cross. I almost died painting it, but I managed to put everything into it.
9. Apart from painting and drawing, what is your favourite leisure activity? your profession? Do you have any hobbies?
This is my job and my hobby. All the other fun stuff happens at work. I also like poetry, music. Often, while I'm working, I'll listen to dozens of different arrangements of a well-known evergreen. You can learn a lot from it. At work I sing duets with many world stars even if they don't know it (lucky for them).
10. Finally, I would like to ask you what your plans are for the future (both in general and for painting)?
I would like to create a series of high quality graphic series on historical subjects in a modern guise, because the tradition of Hungarian graphic art is disappearing. And in painting I would like to develop, experiment and push the boundaries of the genre. I have a lot of paintings in my head that are still to be born. This is a lifelong project for me and I want to make the most of it.
Cover photo: Attila Boros - Árkádia - Golden Age
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