In my work, in addition to the various paints, the material, the matrix, and thus naturally the facture, play the main role (…) In foreign terms, I use so-called “hautes pâtes”, i.e. high, thickly applied, pasty, full-bodied materials in my paintings. And the craft and the material, as the new “medium is the message”, have a value of their own. And beyond the fact that even Leonardo had already noticed the imaginative role of the moisture stains on plaster, in the Renaissance, detail, abstract organic or geometric form had not yet become a value in itself in the visual arts.
Beyond ornamental or folk art, it only appeared in the so-called modern and neo-avant-garde movements, and more closely in the painting tendency known as informel, or formlessness, after the Second World War. My works can therefore be compared with the material paintings of Jean Fautrier, Jean Dubuffet and Antoni Tàpies, as well as with the stucco and sgraffito works of László Kovács (1944-2006), István Birkás, Ádám Gáll and Ferenc Kis-Tóth.
(…) The process – as an abstract-organic spatial pattern – is almost infinite, as is the process of plaster application, plaster peeling and peeling, staining, wetting, falling and breaking – in the spirit of human intellect and aesthetics.
János Dréher