Who do you consider your greatest influences?
When I studied at the University of Applied Arts (now MOME) it was the golden age of goldsmiths. Everyone envied us because we had such good teachers: Vladimir Péter and András Bánfalvi. They had a huge impact on my thinking, improved my sense of proportion and gave me great confidence.
What are your special techniques?
The raw material of my parchment tensioning technique is sun-dried untanned goatskin, which gives me endless opportunities to experiment. I tension it into a spatial form, trying to colour its natural bone tone as subtly as possible. The leather-petals, which become either opaque or as translucent as glass, are fastened by lost-wax cast silver nodes.
Can you share with us a memorable moment in your career?
Noémi Gera, Márta Edőcs and I were the first Hungarians to be invited to exhibit at the Sieraad International Jewellery Art Fair in Amsterdam in 2018. There was always a huge bustle at our booth. One of our visitors commented that ours was the most beautiful booth, with the most special jewellery, and our country can be proud of us.
What threatens today’s jewellery design?
There are two main threats. Those that create jewellery without any goldsmithing experience – it is then sold online and the public has a hard time distinguishing between jewellery that has something to say and fashion jewellery. The other danger is a branch of the contemporary scene, “ugly jewellery”, which turns an already small audience away from us all.