ARTIST PROFILE

Judit Horváth Lóczi

  • Hungary (b. 1981 in Budapest)
  • Currently in Budapest, Hungary.
  • Fine artist, lives and works in Budapest.

REPRESENTATION

ARTIST STATEMENT

It is a gift that, as an artist, I can view the world with the playfulness of a child.

At the same time art helps me recognize and solve problems. I often make time-consuming and labor- intensive artworks. During the construction I can work out the discomfort from myself.

Considering my studies and masters I have had a lot of different impacts which improved my thoughts and attitude of mind, and extended the possibilities of my visuality.

Everything could be the subject of creation, even if it’s a wrecked camera or a broken drawing board. Thus, besides the classic materials, I like to discover and use new and extreme articles too. In these days I’m interested in the colored reflections of light and shadow, in the world of architectural drawings and in the visualization of the personal demons. The newest artworks inspire me to quasi meditate.


BIOGRAPHY

The art of Judit Horvath Loczi is full with playfulness and the orderly preciseness at the same time. In the field of materials and techniques she is quite open. Everything could be the subject of the creation, even if it’s a wrecked camera or a broken drawing board. Besides the classical materials she likes to discover and use extreme things. In her artworks she likes to explore the colored reflections of light and shadow. As inspiration she uses always a life situation or a personal story which she extremely abstracts and visualizes with the basic geometrical forms. That is the way how she processes the events of her life, how she releases herself from the tensions, how she reminds herself of the happy moments.

Every artwork is a page of a diary.

In 2004 she started as a landscape architect and began her career within this field but she soon found out that the artistic relations of landscape architecture would not satisfy her needs. Between 2004 and 2007 she attended Budai Artschool where her master was the painter Marcel Kelemen. She also completed a marketing design course during this period and later between 2005 and 2007 she finished a Colour Dynamics and Engineer training at Budapest University of Technology and Economics. This last one is exceptionally important in her life because her master-teacher: Tamás Konok had been her mentor and helper on her professional way.

The Colour Dynamics course concentrated firstly on the theory of colours and the colour design but secondly it gave a wider knowledge to Judit Horváth Lóczi she recognized the total art (Gesammtkunstwerk), and how the fine art and applied art cooperate.

From 2010 to 2011 she studied art management, exhibition organizing and other trades of being a curator at Werk Academy. From 2011 to 2014 she attended and successfully completed a Visual Representation Artist (Graphic Artist) course at Budapest Metropolitan University.

Since then she became an associated member of the Society of Hungarian Painters, Hungarian Artist’s Book Association and the Association of Hungarian Artists.

Several artists have had influence on her professional career, e.g.: Tamas Konok, Janos Megyik, Imi Knoebel, Istvan Haasz or Louise Nevelson.

She actively applies for local and foreign prizes, awards and competitions (through this she exhibited in Venice, Milano and in London as well). From 2008 she continuously takes part in group and solo exhibitions and visits Art Camps. Her toolbar is diversified. She is familiar within the depths of abstract painting and also in assemblages (like art boxes and art books).

Her paintings were awarded by Barcsay Prize in 2015. This prize is given annually to Hungarian painters under the age of 35.


In the past few years a sort of settling can be experienced in her works. Her new series of art contain shaped canvases, laser-cutted wood panels therefore they construct a path between two-dimensional and three-dimensional space. In the future she plans to go on and investigate the perforated surfaces and its shadows and the meeting-points and contingency of painting and extensity.