Novotny Tihamér szerk.: 10 + 1 éves a Szentendrei Grafikai Műhely (Pest Megyei Múzeumok Igazgatósága, Szentendre, 1991)

/ K.: I think the Graphic Workshop of Szentendre has turned into a school, ana just Pecause the application of photos were not really a feature. Not that they were not applied at all, but it was not characteristic. At the College of Applied Arts more than the half of silkscreens were maae with photo or manipulated photo but here 80% of the pieces did not use photos at all. Another characteristic is iris printing. I do not mean to overpraise Misi, the typographer, for it is mainly his virtue, but I think that prints of similar puality are only produced in Japan, and the iris-prints of the Graphic Workshop of SzentenPre are truely excellent. The third characteristic is that most of the local prints are produced as paintings, and not merely because they are made by painters. T. N.: At least it has been the dominant tendency in the last five or six years. / K.: Yes, but it is perhaps better to say they are based on anP toned in colour. This is how I would put it more exactly. But you have asked me about how to go on. I think that the schedule must be more adapted to personal demanas for I am sure that many artists oPject the limit of one week per year. It is highly unsuitable for me because if I print a colour I often need three or four years of meditation to find out which colour to print next. So I think the schedule should be more flexible. T, N.: The other thing is that similar venturtes appearea. I mean the National Graphic Workshop of Vác which has a much more open system and much better equipment than the one in Szentendre. And it is much more adventageous for they have no limitations in time, whoever applies for using the workshop can work until he feels his piece finished. Not to speak about the fact that he can choose from aiverse grahic methoas. The Graphic Workshop of Szentendre, on the other hand, offers a restricted or at least highly specialized range of possibilities to its members. / K.: This is chiefly because there has been no technological development. By a printing process of aifferent system they could produce even giganto-graphics. Two people by a large rubber press plate could produce them. But it certainly demands a larger space. And typographic photography should also be introduced. Not to speak about the possibility to print on other materials like metal plates. But for that they would need materials of other character. Within the given technical limitations everyone is forcea to keep to his own canons since the scale and paper define his activities ana possibilities. There must be a chance given to experiments even at the risk of producing no results ana this should be calculated in the budget of the Workshop. For this obligatory limitation in time and the obligation to hand in the piece which is applied the very same way in everyone's case produces a feeling of stress. T. N.: I would like to pose another problem. As we know in America silkscreen printing was a natural result of the aemands of an industrial, consumer, design society and it was given a higher status in art later. In Hungary or Middle Europe it was just the opposite, for here society was not based on consumerism, industriality ana design. So how was this genre born in Hungary? Was it a result of the intention to make art? What was the motive behind? /. K.: I have to stress that in works of a special aspect technology was of high importance. I mean Pop Art, Hard Edge or the geometrical trends of Minimal Art where it was impossible to produce an exact surface by any other technology but silkscreen. You are simply incapable to paint it in oil