My work is focused on the human figure, in various contexts, such as the instrument of soul, the portrait as a reflection of our everyday life, organic form, as nature itself. I convert the visual and digital worlds by direct screen printing technique to my works, so enhancing the form and expression this way.

Portraits - china portraits - as my diaries - for decades I have experimented to express my own personality in simple, concentrated "minimal art" form. These figures I imagine living in the landscape, hiding in a bush, lying in the grass, standing in water. In the exhibition hall, on plinths, I see a dissonant phenomenon. That's why I tried to put them on ceramic "stones" or to build half of them in stone-forms - so that they may return to nature even in these sterile surroundings.

I am from Eastern Europe, the daughter of a ideological and social experiment gone wrong - socialism. Having graduated at the College of Applied Art's in Budapest, I started to work as designer in a pure, neglected "out of the world" ceramic factory. But what a factory? From this time on I started to feel the smoke of the cooling towers, the lines of the factory's broken windows, the conveyer belts, the women metal-workers with their varicose legs, the electricity centers, the crane-cemetery and the loneliness of the huge, badly lit factory halls. The poles, the bottom of aeroplanes, the sky red from poisonous gas, had a special meaning for me. I started to photograph these impressions and transfered them onto the clay by silkscreen print. I formed and crumpled them together with the material. I was lead by two feelings: adoration and horror. Admiration and appreciation at the sight of human spirit and technique and fear and anxiety at the sight of those huge, isolated, creaking steel plants. What will the future hold?