Kókay Krisztina (Esztergom, 2005)

She will produce a sculpture the same way, if she ever gets the idea, because her mode of graphic expression predestines her for this. Finally, I would like to sound off, with some ingenuity, about those contemporaries I consider our intellectual relatives.

If I think about lines I believe there are many kids of lines. There are fuzzy, scratchy, convulsive, winding or capricious lines. And, of course, there are also exact lines, short or long, determinate or hesitating. The graphic works of Géza Samu, Imre Bukta and Adám Farkas are dominated the same way by the texture of lines, seemingly holding some ancient power. Pál Deim's diagonal rasters and the young sculptor, Szabolcs Zajtay's meditative and colorful tower sculptures built from skewers are linear descendants of the Kókay drawings. As we move farther from the shower of rasters marching in short, military order, I'd like to mention master Banga's shaggy, stringy and bearded protagonists hanging about or

walking on the clouds. And we also have Péter Kovács's writhing, suffering, autonomous empire of lines. This enumeration concludes with international grand master Menyhért Tóth and his unmistakable drawing style, his portrayal of humans and animals and his landscapes.

Master Kókay is an organic and regular part of all of this. Perhaps you find my train of thoughts arbitrary, but these are my thoughts and I may state without any risk that Krisztina Kókay, a master and practitioner of the art of gobelin has been born as a graphic artist as well.

God bless her work.

OPENING SPEECH, NEST GALLERY, 9. NOVEMBER 1999