As a kinetic sculptor, my work has been defined from the outset by an inquiry into the interplay of movement, light, and invisible force fields. I graduated from the University of Fine Arts with a degree in sculpture, receiving the highest distinction. Even during my academic years it became evident that I wished to extend the traditional sculptural vocabulary through the investigation of physical phenomena. At the center of my artistic research stands the luminokinetic technique: the creation of spatial structures in which light, motion, and magnetic forces jointly shape the meaning and perceptual experience of the artwork.

I approach kinetic sculpture not merely as a technical experiment but as a conceptual field. My works operate at the threshold between physical law and artistic intuition: floating components, magnetically driven elements, and light‑responsive surfaces form the visual and intellectual system I have been developing for many years. For me, the monumental kinetic method is not a tool but a language—one through which I examine temporality, spatial perception, and the instability of visual experience.

I have presented my works in numerous exhibitions both in Hungary and internationally, in museum environments, public spaces, and thematic art festivals. These occasions have allowed my kinetic sculptures to enter into dialogue with diverse cultural contexts and to integrate technological innovation into contemporary artistic discourse.

A defining milestone of my career is the Hommage à Brancusi, an eight‑meter‑tall magnetic kinetic sculpture permanently installed in front of the city hospital in Lier, Belgium. This monumental work is simultaneously a tribute to the formal purity of Constantin Brâncuși and an articulation of a radically contemporary kinetic approach. Its floating, subtly moving elements evoke verticality and lightness, while the invisible magnetic field generates a new mode of spatial and perceptual experience.

My artistic practice continues to be guided by research, experimentation, and the exploration of new forms of spatial awareness. I regard kinetic sculpture not as a closed genre but as an evolving framework in which technological and natural forces become my collaborators. The aim of my work is to create structures in which movement is not merely a physical event but a fundamental metaphor for understanding the world.