Would you perhaps like to give us a brief insight into what you’re currently working on?

 I never really have just one single theme that I’m focusing on. I always need a certain amount of variety, both in my private life and in my artistic work. In the summer, I’m usually out and about in nature, painting en plein air. In the winter, on the other hand, I spend more time in the studio. This winter, for example, I’ve been exploring traditional painting techniques quite a lot, such as egg tempera on wood panels, charcoal drawing and gilding. At the moment, I’m working on a trilogy of ‘fake’ icon paintings, which reimagine three indirect, adapted versions of Sano di Pietro’s ‘The Life of St Anthony’ and transform the depictions of saints into snapshots from my own modern life. I’m also working on a ‘medieval-style’ anime panel painting using the same technique. Apart from that, my surrealist series is still in full swing, in which I depict my dreams or fantastical visions. My most recent work, however, is a rather more classical subject. It’s a larger canvas depicting a snow-covered tree scene from Türkenschanzpark (next door), with a few elements with a slightly psychedelic touch. I’ve already captured this little urban oasis on canvas countless times, and there’s certainly plenty more to come.

What inspires you?

I draw most of my inspiration from my surroundings; in other words, I really enjoy visiting exhibitions by contemporary artists and artists of my own age. If I had to choose one living artist who inspires me particularly, I’d pick Peter Doig. He blends surrealist elements into a visual world that appears to draw on nature, which some art experts describe as a reimagined form of Impressionism. Otherwise, I am – almost clichédly – a great lover of Impressionism, which is clearly reflected in my paintings. Freedom from the studio and out into the plein air! I also think the Viennese Realists are brilliant.

Does your degree help you with your painting?

Absolutely! My degree has mainly helped me to gain an in-depth understanding of the materials I use in my art. You could think of a degree in conservation and restoration as being rather like how people used to study at an art academy, only underpinned by a great many scientific subjects, such as chemistry and materials science.

Where do you get your inspiration from, and how do you know what you want to paint?

It really depends. When I’m painting en plein air, because of the weather and lighting conditions, I have to quickly choose a natural scene or vantage point – including the perspective – within the chosen surroundings that will look good in the finished painting. Sometimes I get it right first time, but sometimes I have to walk round a few times. It was quite a different story with my surrealist series. The surrealist style of painting actually emerged from the interpretation of my bizarre dreams. I’m fascinated by the way my own brain processes thoughts and feelings. In this inspired state, I try to understand these underlying emotions and ideas through the act of painting. 

What themes are swirling round in your head?

To summarise broadly: Nature, my surroundings, the natural world around me and the impact it has on me. I don’t have a single, overarching theme that constantly occupies my mind. I’d actually find it somewhat misleading to claim that I do. All my paintings have a very close personal connection to myself and my own insights. My art only rarely contains a political or protest message; when it does, it often involves a deeper, subtle socio-cultural critique.

You paint a lot en plein air – what have been your experiences with that? 

The Impressionist era has fascinated me since my childhood because of its vibrant colours and bold brushstrokes. My earliest memory of a museum visit takes me back to a landscape painting by Van Gogh, in front of which, as a child of about eight, I said to my mum: “That’s exactly how I want to paint!”. As I learnt more about how such paintings came to be and discovered that members of the Impressionist movement were finally able to practise their art on location thanks to portable paint tubes – which had recently come onto the market as a result of industrialisation – and clever, foldable set-ups. I’ve always loved being in the mountains or the woods, until I finally took up plein air painting in the Swiss mountains in 2017. In 2021, I moved to Tuscany, where I had the absolutely perfect conditions for plein air painting: the beautiful landscapes steeped in art history, and the marvellous weather and light conditions. Plein air painting is a complete adventure every single time. I pick a rough destination on the map, drive there, pack my painting case and fold-up easel, and wander around the area until I find a pleasing view, then I start painting. It is an indescribably liberating feeling to be immersed in the subject in every dimension and to be able to take it in with all my senses.

A story from 2023: During my trip through the Czech Republic, I set off on a plein air adventure in the ‘Bohemian Switzerland’ National Park. Before setting off, I’d only looked up information about the hiking trail and hadn’t realised that a large part of the forest had burnt down the previous year. My vision of a beautiful, lush forest, teeming with flora and fauna, had turned into a charred wasteland. Nevertheless, I decided to paint the landscape for precisely this reason. I wanted to depict this low point and the resulting regenerative power of nature. When you paint in public places, passers-by always pay you a lot of attention. You often get caught up in fascinating conversations, which was particularly the case on this day. If I’m unable to take my entire (and rather heavy) painting case with me – such as in high-altitude alpine terrain – my watercolour set must never be missing from my bag. I have a small collection of postcards that I create whilst wandering around the world.

How would you describe your style?

I don’t see myself as having a particular style. My paintings are sometimes more precise, sometimes more abstract. My style is influenced by many different role models, but one consistent principle is the use of colourful contrasts interwoven with fantastical elements. Recently, my paintings have shifted from a thick, impasto style towards a more glazed, detailed technique, in order to emphasise the intricate nature of the surrealist elements. Fundamentally, I would therefore describe my style as a kind of colourful, organic fantasy simulation with anthropomorphic elements.

Can you tell us a bit about the painting you’re working on? 

This painting was inspired by a very vivid dream. I’ve been thinking a lot lately about the effects of climate change on nature and have already explored the theme in a number of paintings. In the dream I mentioned, the death of nature appeared to me in allegorical form: the pine trees no longer bore needles, the grass had withered, and the remaining animals were wandering thirstily through the landscape. The figure depicted is meant to represent myself, as I had to open up my own, withered body at the chest, from which I sacrificed my blood as nourishment for nature. I do not in any way wish to adopt a heroic stance with this depiction. My subconscious was attempting, through this catastrophic vision, to counteract the consequences of humanity’s perpetual strain on nature. The open eye in the central rear part of the picture, on the one hand, points to the realisation of the dreamlike state; on the other hand, it is intended, like an eye-opening call to action, to encourage a conscious approach to our environment. The image is part of a series in which I explored a number of similar subjects, such as this one here.

How did you come to be involved with the Student Art Market, and what has been your experience?

I was made aware of the website by my good friend, Helka Iványi, who is herself represented on the platform. She’s had a good experience with you and I signed up on her recommendation. 

 Have you had any particular experiences with a customer? 

Yes, quite often! My favourite story is about how I sold the painting ‘Raimundshof’ and received a letter from the customer a few days later. He wrote to say how happy he was with the painting. Really lovely! :) 

 Is there anything else you’d like to share or tell us? 

Get out there and have a look around!

Here you can find all of Judit’s work!