How I got to become? what exactly? Still today, when I am asked what my profession is, I have a few moments of hesitation. The direction was already clear in my childhood, when I was given comics from friends and relatives living in Yugoslavia. One of the wishes that accompanied me throughout my childhood was to draw comics ? the other being to live in an isolated farm. But as much as I wish to flatter myself pretending I have come to this profession by way of conscious decisions, I was much more directed to it by a succession of coincidences ? if they exist at all.
As after primary school I was not taken in the Secondary School for Applied Graphics, I opted for a training as a car mechanic. I realised in time that this choice was not the right for me, so I changed for a training as building sculptor.
I finished my training in 1988, after which I did my military service. After that, an acquaintance gave me the advice to try finding a job at the Animation Studios in Pécs. I was put on a waiting list, so to kill time, I created a decorative art studio with two friends, and decorated a few cars and a couple of pubs. In the meantime, a job had become vacant in the team of the Funny Film Ltd. directed by Tibor Hernádi: I was taken. I learned a lot during the nine years spent there. I took part in numerous projects, but the most memorable were Mauri Kunnas? Santa Claus and the Magical Drum and Sven Nordqvist?s Pettson?s Stories.
In the meantime, the other dream I had as a child seemed to come to realisation: I bought an isolated farm at the end of a village situated on the boundary of the Zselic. This period brought a number of new elements into my life. For instance, as I waited in vain for the stove-setter who had promised to build my stove, I ended up building it myself. What I knew about building sculpture also turned out to be very useful, and I took such relish in that work that I started building stoves on commission ( I design and realise a yearly average of 3 or 4 indoor stoves and/or outdoor fireplaces).
I was also interested in furniture styles, so I got a training in interior decoration in 1995.
In 1999, I designed the shadow theatre and stage setting for a play directed by Zsuzsa Szabó at the Szalakóta Puppet Theatre in Dunaújváros.
I started trying myself in the domain of furniture and glass painting.
The desire to work independently grew more and more resolute in me, so I said left the studio.
From 2000 on, I worked at first for the Alexandra publishing house. I was commissioned for drawing a number of painting books, language learning books, concertina picture-books, then got commissions from elsewhere too, for instance for the illustration of Márti Horváth M. book of verse.
In 2003, I designed the logo character and CD cover of Tuba Tóbiás, the musical tale by Győző Lukácsházi set on the stage of the IBS.
In 2004, I worked together with Alexandra Faltisz in the reading book and workbooks entitled Tág a Világ published by the National Schoolbook Publishing House. This is when I started to collaborate with Eszter Ákossy through whom I got to work in the children?s page of the women?s magazine Nők lapja. It is an honour for me to work there with the very people (Alexandra Faltisz, Kriszta Kállai Nagy) whose work inspired me again and again to illustrate children?s stories myself.
I have worked for the magazine DVD, I am continuously illustrating for the publisher?s house Pécsi Opus. I am at the moment working with Eszter Ákossy on a common book.
Even though I didn?t succeed in everything in the way I dreamt of as a child, I still nonetheless think that dreams are there for us to make them become true.
