You studied at the Hungarian University of Fine Arts for several years. How did your experience there shape your approach to art, and what influences from that time are still present in your work today?
The first two years at the Hungarian University of Fine Arts were difficult. I was accepted into the painting program, but I couldn’t paint for months. I had to draw crumpled paper balls from observation using graphite pencils. I felt that the university wasn’t treating me like an adult and I couldn’t do what I had envisioned. This was a rather frustrating period for me. Looking back now, I think my painting teacher was like a Zen master, teaching me patience and humility.
Your alias, “Pista Horror,” suggests a connection to the darker side of creativity. Can you share how this name came about and how it reflects your artistic identity?
I consider myself an Eastern European visual artist, always inspired by Tarkovsky and the visual aesthetics of Stalker. I am also energized by mysticism; I feel a visceral attraction to the painting of German Romanticism. The name “Horror Pista” is a pop reference, and darker shades also appear in my works, though these tones are not the only ones featured.
In your art you often experiment with various materials like acrylics, oil paints, and even porcelain tiles. What drives you to shift between different mediums constantly, and how do they each challenge or liberate your creative process?
I strive to work with as diverse materials as possible, on different surfaces. It’s important for me to always be able to change my working methods freely during the creative process, so I don’t get stuck in any one technical solution that could easily lead to self-repetition.
You’ve mentioned that encountering new materials prevents you from falling into routine or repetition. How do you approach each new project to ensure it remains fresh and challenging for you?
I’m not always successful in making each new project fresh and challenging; sometimes it’s better to interrupt the creative process and do something completely different.
Your works seem to have an element of play and unpredictability. How do you foresee this playful experimentation evolving in the future? Are there any new materials or techniques you’re particularly eager to explore?
I don’t know where this “playful experimentation” will lead in the future. I would like to exhibit in places that are not exhibition spaces in the classical sense. I want to create mosaics on public spaces with weather-resistant materials like tiles, and display painted ceramic tiles in unconventional locations.
What are your thoughts on the digital era’s influence on art? Do you see yourself incorporating more technology into your work, or do you prefer to stay rooted in more traditional, tactile mediums?
Digital art allows artists to use new techniques and tools that were not previously available in traditional art forms. I like it when I can see the aura of a painting, so traditional techniques dominate in my work.
