Living Structures
The Living Structures series explores the invisible structures that occasionally reveal themselves and enable connections between living beings, memories, environments, and communities.
Each work in the series approaches this question from a different perspective: through biological, ecological, cartographic, emotional, or symbolic connections. The paintings do not seek to depict nature literally, but rather draw attention to the recurring patterns and organising principles that appear across different forms of life and systems alike.
I believe that empathy begins when we recognise these connections.
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Interwoven Stuctures
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The Minimalism of Mint
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Smile of a Blackberry
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Unity
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Next time it happens...
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Out of the Cell
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Revival
Animal Presence
In this series, I reinterpret the traditional animal portrait through contemporary visual means. I approach animals not merely as portrait subjects, but as living entities with their own presence and individuality.
Recognisable animal forms encounter organic and abstract elements, intense colours, graphic marks, and layered surfaces. The tension between realistic details and more freely treated visual elements allows me to preserve the individual character of the animal while moving beyond mere resemblance. The series explores how the animal portrait can express an animal's individuality, its unique relationship with a human, their shared memories, and what animal presence means in a person's life.
The series explores how the animal portrait can become a vessle of visually expressing the unique relationship between animal and human individuals, their shared memories, individuality, and animal presence. I understand the relationship between animals and humans as one of equals, in which the animal is neither a decorative motif nor a substitute for a human story, but an independent living being whose presence becomes the centre of the image in its own right.
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Mischief - Szaladin
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Devotion - Álmos
Selected Works
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Felhő
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Rex
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Self-portrait
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Mansplaining - just the first step
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A Bouquet of Patriarchal Charm
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Date
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Blue Mood
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Summer Explodes with Green
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Flames of Summer
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Viktor, the Hungry Bird
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Where the Desert Ends
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Lack of Purple
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Growth
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Winter Field
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Shiba Inu
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Willow
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Álmos
Unity
Fragments…
I really loved painting this piece of mine, it was made in April 2026. At a time when I was unable to tear myself away from the news of the Hungarian elections more than 2000 km away from our home in Finland. On April 12, 2026, the abusive Orbán regime, operating like a mafia, fell. The very thing we had fled from. On that day, exceptionally, I was not ashamed of being Hungarian.
“The unification of the nation”… This expression has been ringing in my ears ever since. After the fallen prime minister called Hungarian citizens traitors who fled abroad from the waves of violence and the cost-of-living crisis in Hungary. After, following a Nazi pattern, he dehumanized Hungarian citizens who disagreed with his rampage and believed in European values, literally calling them vermin. It is over. How many things could have been different if… I feel emptiness and sadness.
I paint my picture. I hide behind its colors. In the golden ochre, the olive green and the radiant grass green I find peace. Temporarily. For a few moments at a time. I lose myself in the pigment reactions of water-dissolved wax pastel. I quietly watch how the paper forms an alliance with the dissolving layers. The pigments drift with the water. Just as I myself often only drift along with the time of my life. I often think about how I have no control over every event in my life, yet looking back afterward, something still seems to indicate a direction; in the same way, a story emerges from how the forms and beings seek connection, organization and network through their contour lines, sometimes beyond them. And how they build themselves.
I do not feel myself part of Hungarian society. More precisely, I do not want to be part of a society which, regardless of the now-collapsing hybrid regime, has for decades kept producing newer and newer dictators for itself through the practice of silence, cover-ups, looking away and maintaining corruption, while neglecting self-reflection. Why? Because suffering while pointing at others is simpler than taking responsibility. I should know. For years I have been working on overcoming these toxic, learned patterns. So I am convinced that political regime change requires more than simply drawing two Xs on a ballot paper…
I marvel at the unity of my painted beings and their partly abstract forest. How simple this is. Animals and plants do not cast one another out on the basis of citizenship. Among them, I always feel at home as a simple human being.
About me
I am a Hungarian contemporary visual artist living and working in Finland, working primarily with mixed media. Creating art became a defining and survival-supporting part of my life relatively early on. Over several decades, my thinking has been shaped by personal trauma, as well as by my experiences relating to social justice, women’s and animal rights, and human dignity.
I was born in a post-communist country, which for a long time had been increasingly evolving into a hybrid regime. Self-expression and existential safety of artists were restricted in many ways. As a result, I lost my connection to art for almost a decade and a half, although writing poetry has been an important part of my life since 2010. For a long time, I worked with the rehabilitation of traumatized dogs. In January 2024, my husband and I emigrated to Finland.
The change opened up a new possibility for me to begin exploring the questions above through the language of visual art. Since 2024, I have been studying drawing and painting independently, developing my visual language through continuous practice and experimentation.
My vision
We all want to belong to others. We want recognition. A life full of dignity and opportunities. I want there to be more creativity, color and free self-expression in the world than oppression.
I believe that art has the power to make visible the connections that we often fail to notice in everyday life. My own experiences have taught me that empathy, human dignity, and freedom are unfortunately not inherent building blocks of our lives, but foundations that we must reinforce again and again.
As an artist, I therefore support the creation and preservation of a world in which every decision concerning our own bodies, our reproductive rights, our education and career choices, our economic security, and our life journeys as a whole is understood in terms of individual autonomy, empathy, human dignity and equality, animal welfare, and a responsible relationship with nature. A world in which these are not separate values, but integral parts of the same shared system.
Through my work, I do not seek to provide answers, but to create visual experiences that invite the viewer to pause, to feel the tension and difference between chaos and order, and to question their own relationship with nature. And to question the "traditional" social arrangements and mechanisms that humanity has constructed in the past, which are not necessarily viable in the present.
Artist statement
My work begins with the observation of nature and with personal experience. Through organic forms, abstraction, recognisable motifs from nature, and the layering of different materials, I explore the forms and structures emerging from living systems.
For me, nature is not merely a subject, but a way of thinking. Its recurring patterns, structures, adaptivity, and continuous transformation inspire my visual thinking. In my work, the coexistence of the organic and the geometric, the realistic and the abstract, the detailed and the loosely painted, the subtle and the intense creates tension. Vivid, high-energy colours, graphic marks, and layered surfaces draw attention not to an exact reproduction of nature, but to its transforming, interwoven structures and the sensations they evoke.
I work with watercolour, gouache, water-soluble wax pastel, and oil pastel, as well as other water-based and graphic media. Consciously utilising the different behaviours of the materials and their effects on one another. Oil pastel is particularly important to me because of its depth and tactile surface presence: it gives my work textural characteristics that I cannot create in the same way with other media. I particularly enjoy working on 640 gsm, 100% cotton, acid-free paper, which is not merely a support for the work but an integral part of the artwork itself. I consciously seek materials and processes that allow me to pursue an artistic and archival practice with the smallest possible ecological footprint. This includes the use of solvent-free, water-soluble materials, as well as avoiding varnishes and fixatives, choosing non-toxic materials, colors, and pigments, and using appropriate framing and UV-protective, anti-reflective glass to provide long-term protection for the works.
My works create visual spaces that simultaneously carry the traces of intuition and conscious decisions, while leaving room for the viewer’s own interpretation and possibility of connection.
Education
- Rehabilitation Dog Trainer - Hungarian OKJ qualification
- Dog Trainer - Hungarian OKJ qualification
- Veterinary Assistant - Hungarian OKJ qualification
- Dog Massage Therapist - Hungarian programme-accredited professional training
- 2008 - MA in pedagogy and Hungarian literature, University of Pécs
- 2003 - BA in Teacher Education, with a minor in Music, The Successor Institution of the Illyés Gyula Faculty of Education, University of Pécs
Exhibitions
- Patricia Cancelo Art Gallery, Barcelona in collaboration with Galerie Image In Air, Paris, France, contemporary group exhibition (1-15 June 2026)
- A+ Gallery, Helsinki, Finland, "Flowing Abstraction" contemporary group exhibition, curator Rain Lin (11-25 March 2026)
Publications & Features
- 43rd Issue of Artmosphere Art Magazine (summer 2026)
- 100 Artists of Europe, Culturale Lab (December 2025)
- 41st Issue of Artmosphere Art Magazine (winter 2025)
- 40th Issue of Artmosphere Art Magazine (summer 2025)
