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

/ K.: Rather in 1978-79. T. N.: Ana what part did you play in the formation of the Graphic Workshop of Szentendre? / K.: I did a lot of organizing and I was a memPer of the first Leaaers' Committee. Later I withdrew form the Workshop but only for a very simple reason: I grew disinterested in silkscreen since I had been over the joys of novelty when the Workshop in Szentendre set off. Now I grew more interested again, although in a different way. T. N.: I want to learn more about your role in those days. I am certain that your frienas considered you an expert in the technique and counted on your assistance. /. /C.-Yes. I certainly was. T. A/.: Mihály Lipták, the typographer of the workshop recallea the frienaiy atmosphere ot the time and the fact that it was the Graphic Workshop where you regularly met, exchanged your minds, information ana discussed the actual artistic and local issues etc, / K.: I think it is only natural in a perioP of Pevelopment. Then it was an important event to discuss who produced what ana how he did it, what innovation he introduced or what new method he managed to discover. I do not really know why collective work stopped. As I told you before I grew disinterested after a while for I got acquainted with the possiPilities of silkscreen in Hungary, I tried them all, and I could foretell at 95% probality whether a given project was possible to realize or not. (That is another auestion how the troubles in connection with the Műhely Gallery influenced the activity of the workshop as a creative community, but I do not think it has any relevance today.) T. N.: On the other hand you mentioned that you grew interested in the technipue again. Why? /. K.: I would like to go back a little again. I definitely think it was me who used the photo as a medium first in Hungary in this technique. I was fascinated by the documentary character of the photo. Three years ago I started painting again in oil. I have to emphasize it because in the last decade I mainly worked with photos manipulating them by painting or chemicals once in a while. Recently, however, on my new pieces which I would not label as expressive some picturespue gestures and homogenous surfaces have appeared. I think silkscreen techniaue has become a suitable medium again to express my message. I mean I would not like to copy a photo on silk but I intend to use the method to make a painting where colour patches and gesture are based on each other. This summer I made a colour sketch which was still based on a photo but I destined it for making a large scale print. So now I am interested to learn how to produce large scale silkscreens. For this technique is rather suitable to produce prints of any scale. T. N.: I intended to point it out myself. But what do you think ot the 11 years of the Graphic Workshop of SzentenPre? I do not mean only the individual innovations and successes but the characteristic features of Szentendre silkscreens. And still I cannot help feeling that something is missing. How to add to the character of the Graphic Workshop of Szentendre? As we flap through the pages of Anpy Warhol's catalogue and read the essay included (Riva Castleman: Andy Warhol's Sérigraphies In: Prints by Andy Warhol, Palace of Exhibitions, Budapest, 1991) we are astonished to see what large scales ana what inventiveness the technique was used with in Pop Art. Why should not they try to enlarge the space of the workshop and facilitate the printing of canvases by silkscreen?