"The emotional difference between the suffocating excitement of conjuring an unplanned, unknown image and the exact completion, i.e. the euphoric happiness of the birth of the image, stimulates energy, mental and spiritual high tension. In the event that the two extreme values were to get closer to each other, i.e. if the equalization process were to begin, the rapid heartbeat of Kopasz's paintings would inevitably slow down and transform into a mechanical, monotonous knocking. All of this is important to emphasize because Kopasz's art must be defined in strict opposition to the art and art approach that values painting that leaves a mark with motor movement and uses the mark of motor movement as criticism." – Endre Lisányi, esthete

"The logic of the Kopasz pictures is the logic of organization, which necessarily includes topology, typology and dramaturgy. The goal is to set up a humane playground, where multiplicity makes you think and forces you to think. His thinking is expressive, which he expresses in surface distributions. But his thinking is never identical to one of these distributions. Even more so, since the surface distributions themselves are not meanings present in their pure self-identity, but contain the non-significant, the nonsense. e.g. between two sounds in music, between two sentences in language, between two cuts in a film, or even between two moments in life... this is such a vacuum, such an imperceptible space, a space of meaning, which is both a prerequisite for the spread and radical transformation of meaning. The public, the empty rubric, whose location cannot actually be located between two gestures. After all, it is already there in the initiated gesture, between half-sentences, words, letters, movements, as well as between entire texts, books, musical scores, paintings, and even between different sign systems of different eras. The empty rubric is not a lack, but on the contrary, the overflow and proliferation of the paradox, the juxtaposition of impressive proportions, contrasts, the sudden, unexpected changes of pace, the coexistence of smoothness, which simultaneously indicate the position of the in-between place in some Kopasz historical layers, and the position of these layers in the Kopasz within a million."

excerpt from the opening text of art historian Zoltán Prosek

photo: Miklós Déri