Kovács László PUTU: KOVÁCSOLÁSUNKKAL ÜZENNI A JÖVŐBE. NYOMOT HAGYNI A VILÁGBAN (Kiállítási katalógusok - Szentendre, Szabadtéri Néprajzi Múzeum, 2007)

INTRODUCTION I am Putu, subject of Lord Iron, duke of Rust I made my apprenticeship in the trade in Tiszacsege from 1967 to 1970. My master, Gábor Scheffer showed me the basic knowledge. Once in Budapest (1970), the old blacksmith Mihány Mayer "rang" for me the melody on the anvil, and I was very impressed. Following subjects marked my years in Budapest: the Iron, the Jazz, the Blues, the Rock, the folk-music, the Baroque ...yes, the Wines and the WOMAN. The arts started to excite me in those days. I wrote a letter to the blacksmith Károly Bieber with the request to work in his workshop but he didn't need staff. I would have had the opportunity to work with the blacksmith László Péntek during the weekends. In Szentendre I started as an art's assistant in the Lehoczky workshop between 1977 and 79. The artist's poor glimmering below every expectation, which he performed on the anvil, suddenly made me realize the error in my choice. I was truly upset: I saw the King naked! With a pumpkin crown on his head. This was not my King! I threw mud at him. He became grumpy. The King! Who has the guts to voice doubts about his Excellency's capacity? Me! - laughed the clown. He let me catch by his henchmen. He let me "decapitated". And he walked off with his followers, with a cunning, disturbed smile on his mug. For me, that was the end!!! But it was worth making fun of the king. I had to move out from there, and the desire for learning ever grew in me (Artists' circle in Szentendre, uncle Sanyi Markó, Ildikó Bálint, Csaba Ásztai, Pest, sculptor's circle Désy Huber). The Wagon Factory in Szentendre (1979-81) was an important school in psychology, besides providing me with professional experience, such as blacksmithing with machine and pressing. I started to recognize and to observe the behaviour and the conduct of the people in this environment. Here I started to write, or maybe even earlier, anyway, I met Béla Appel, who gave an impetus to my writing. Till today, the writing never left me. Then the Open-Air Museum (1981-96) came where I was allowed to write and to create as I wanted to. I met Géza Nausch in these years, the artist, goldsmith, blacksmith, the MASTER. SUNSET WITH SUNFLOWER In the MASTER'S workshop the air is lustful, the glowing wonders cool with gorgeous changes of colours, while lying scattered around on the floor. The Devil also sets again and again about the work in the Fire, but no use of it. i push him with a piece of Iron: Stay quiet, the day is almost finished, we leave you here and then how? You better set your heart upon the MASTER'S coquetting Muse - not an everyday creature - it is her fault when I hit in the wrong place. The MASTER is naughty: he puts his apprentice to the proof in different matters. I applied to the Studio of Young Artists in 1983; however I was not admitted due to my age. I created my own workshop in 1984-85, where I could play as I wanted to. I am convinced that experimenting promotes art. In 1996 I said good-bye to the Open-Air Museum, and ever after I have been working in my own workshop. For a while, I was member of the National Association of the Free Visual Artists. I applied for membership in the M.A.O.E. but I was refused thanks to the artist Lehoczky. Next year however I was admitted. Since 1977 I have been taking part in exhibitions, since 1988 I have been attending the international symposium in Helfstyn. I am an autodidact artist. I have been visiting my own schools. I regularly meet Hephaestus, we chat, we drink a glass of wine and we understand each other well. But I am on the best possible terms with Csege, the ancient Hungarian blacksmith; I owe the most to him. 7