Szabolcs. Szabolcs Péter Munkácsy-díjas szobrászművész katalógusa 2002. április 5. - május 1. (Zalaegerszeg, 2002)

Art of the sixty years old Péter Szabolcs „... we are all naked, because we show not only our intellectual and objective worth in several kind of social clothing, but we strip and we show our emotion and if we are able not to tell lies: we remain unprotected, because we showed ourselves irrevocably. The idea fidgetting historical and social 'clothes' should be appreciate for the future." (József Ruszt) I cast a glance at his autobiography then at the calendar. And at the autobiography again. It must be some mistake. It is impossible that 'Propek' is sixty. He did not use to. It is true that it has to be begun, but why just now? Every beginning is difficult why did not he stay for some years within his fifties? I started my career seventeen years ago and he has been my debate-andteasing partner for more than fifteen years, he has been a childish, mischievous urchin being able to say something that is new, he is a sculptor having excellent technic he is able to look into the matter thoroughly having wise view of the world. He is full of energy as any time earlier. He became more and more careful because of the great number of wounds that hardened scar cicatrice on him. The art collection of the Göcsej Museum guards a sculpture. A thin, bent but persistent figure with enormous energy and vigour rests against a wall carpentened of huge logs, which starts to lean under the irresistible attack. The 'Fence Leaner' was made by Péter Szabolcs in 1980. Similarly to his several other work it may have self-portrait characteristics. The artist never liked fences, walls at the very most because of their aesthetics value. No wonder if they appear in his work as obstacle that should be broken down. Art and artists cannot be restricted at the very most for a while because they will be break down afterwards. The power of the sculpture arises from its inside fire, unrestrained autonomous energy. We can see the moment of the silent effort that came before the crash of the breaking fence. Dynamic is in statics as in 'David' of Michelangelo. The figure of 'Fence Leaner' is not beautiful and perhaps it is not beautiful thing to break down a fence. A weak-chested figure does a bad thing - we could describe the theme of the sculpture in a rude way from behind the safety bastion of the civil morals. But it makes a revelant impression. And where is the inside shocking power originated from? From the faith. It is originated from the faith in the mankind's creative power, creative energy and freedom of their spirit. 8