When did you finally decide to choose this career?

I have been attracted to art since my childhood, but at various stages of my life various things were the most important. I have never planned to find a domain as my final medium of expression. I think this is how it will be in the future too, no matter how I make my living. Variety delights me, and also of I can express my feelings in the subtlest ways.
When I first saw ‘Starring’ on the screen at the beginning of a film.
EMŐKE: At 18. TAMÁS: When I went to secondary school. I had been contemplating the idea before but it had not been a firm decision at that time. It had just been there in my head, and then it chrystallized into a decision in secondary school.
The decision came when I was four, but then I did not know yet what it really meant. It is an interesting story, actually, related to Niels Horgerson. My kindergarten mates were all watching it and I had never had a chance. It had been my dream to see it once, and eventually, I could catch the end of an episode on TV. The following day, in the kindergarten, I began to draw a summary of the story, or of what I remembered. Then the teacher gave me an A3 size sheet, which seemed gigantic to me at the time, and she also gave me crayons. I was the only one allowed to use crayons. The other kids sat around me, and the teacher encouraged me to draw. My parents were also cool. They supported me too, and pushed me in this direction softly. I finally decided to be a painter when I was 16, and from then on, I painted after school every day.
I joined the drawing club in Szentendre when I was ten. There I had a chance to draw nudes of a woman who seemed very old to me then: she was 25. I simply had to take that chance! But on a more serious note: it all became a passion when I was very young, I could draw with charcoal when I was a child. Rather than playing soccer, I molded clay from blocks that I collected on the Danube bank. I was introverted enough to spend my time doing that.
I haven’t yet really, but soon, hopefully.
I’ve been consciously and steadily preparing to become a film score composer since I was 15. That’s why I majored in English at ELTE (the Hungarian university of sciences), graduated from music school and went to the USA.
I try to live my life in a conscious way. From birth until death we’re constantly being born, and I strive for there to be constant renewal and inspiration for those births. Feri Kegytárgyas [collector and seller of devotional objects] is just such a birth and renewal. That began two years ago, though I’ve been attracted to devotional objects for longer than that.
It wasn’t a decision because it came so naturally. Even at the age of 4 I knew that the thing I was most interested in was art.
I started drawing by hand two years ago. Until then, I’d been a computer designer, which is a similar, but fairly impersonal and fleeting thing in comparison. Visuality has always been important to me.
Actually, it went unnoticed. If I really had to pick a point in time, it was while I was at university, but in retrospect it had already begun in the sandpit at nursery school. I was around 12 or 13 when I made my first sculpture.
I have been drawing since I was six, so it was a simple choice. In elementary school I already attended a special workshop. I liked practical skills classes, where I could learn all kinds of techniques. Later on I attended the Secondary School of Visual Arts, then the Academy and then postgraduate school. And when you complete your studies, you suddenly find yourself in a sort of vacuum.
Rather late. I was twenty when I decided I wanted to be a sculptor. I did not know what I wanted to be until then. I always doodled as a kid, but I did not attend drawing workshops and or learned to draw. First I applied to ELTE (Eötvös Loránd University) to study Hungarian Literature. My only motivation was that I liked reading – no wonder I was not admitted. After that I completed the compulsory military service, then I did not do much for a year. My parents started to get worried about what would become of me, so they came up with the idea for me to learn a trade. I enrolled in a decorative sculptor program. I realised there during the first modelling class that this is what I wanted to do.
KCsCs: In kindergarten, but I used the word “clown” back then. ZK: At the end of secondary school I realized I had to apply somewhere. Until then I hadn’t paid much attention to the question. As I had already acted in a number of plays by that time and whenever I didn’t have to be at school I would hang out at the theatre, it was a pretty obvious choice for me and luck was also on my side.
It happened several times. I wanted to be an artist from the beginning, when I was a child. I graduated from an art college. After you finish this school, you are an artist, but I got lost. I did not know what to do. After school I worked as a teacher in a school, and I had my first solo exhibition in Siberia, in that school. Then I realized I would like to spend more time with a paintbrush. I understood that all I wanted to do is to draw and paint. The other thing happened here in Hungary. I had a difficult time at the beginning. I had to make a decision that I do not care about the circumstances, that all I want is to do is paint. That was also the time when I realized I need to be re-trained, because I did not have much information about contemporary art. It took time to get used to the culture. I broke myself, I had to forget everything that I had in a past. I understood that I wanted to become a contemporary artist, and that the art I would create had to reflect my life.
Back in elementary school, I borrowed A Concise History of Modern Painting by Herbert Read, and kept it for weeks, but I don’t know why. Maybe I’ve always had a knack for art. I was 24 when I actually started to study painting. It took some maturing.
I’ve always been interested in creative jobs. I first studied interior design, then graphic design. Presently, I work as an art director at an advertising agency.
Rather late, although there were some signs when I was a child. Once, when I was moving to another place, I came across a short story I wrote when I was ten. It was published in the magazine of the company for which my mother used to work. I started publishing writings when I was 24. I started out as a journalist. As time went by, I incorporated more and more fictional elements into my writings. That is how I gravitated toward fiction.
In the early ‘90s, before I retired as a successful athlete, I went to a tattoo parlour one day (I wanted to get a tattoo of an old Joker card). That was when I fell in love with it and I became a tattoo artist a year later. During my first visit, while I was waiting for the tattooing to begin, a biker kid walked in with the same card in his hand. I was stunned and quickly forgot about the Joker tattoo. I had been working as a tattoo artist for 8 years before I finally got my first tattoo. But that doesn’t mean that I didn’t want one. I had my idea for a tattoo every day but the next morning I always realized that I didn’t really want that tattoo on me. I eventually got a nice, pure drawing on my back. It was started by a friend, Jana, who lives in Miami now, and later Boris went through the whole thing again.
Which one do you mean? I decided to become a singer at 21, and a lifestyle consultant (which involves healing, giving presentations and writing articles) in 2004.
It wasn’t my decision. When we launched Tilos az Á, I happened to have the most music. At the time, Tilos Rádió was already running and everyone there also used my collection. I’ve been collecting music since the mid-’80s. I had no idea back then that I would be making a living out of it. I went to three different schools: a music elementary school, thanks to my parents, then came the College of Physical Education because I used to do sports, and finally I studied therapeutic pedagogy. The funny thing is I need all three to be able to do what I do now.
2 years ago, but I don’t really feel that I chose it, rather it took me over without leaving any other options.
In 1950, at age 13. That’s when I started, but I spent the winter of 1950–51 ice-skating and didn’t attend the artist circle sessions. When I returned (my buddies snitched on me), Mr. Józsi Mokos (a renaissance man and great teacher) slapped me in the face twice and pointed to the drawing bench, and I haven’t left this path since.
I’ve been interested in technique since I was eight. The completed painting, the colours and the techniques were important. I was trying to find that connection with art, and it took years before I realized (or was brought to realize) that I was living it. I believed for a long time that art was something I couldn’t do (such as painting a nude). But then, when I was studying at Dési [the Dési Huber Art Circle], they told me that my sculptures were good. Csaba Sík wrote once that “Harasztÿ managed to become an artist because art approached and came closer to him.”
I first became interested in music when I was in the sixth or seventh year of school. Later I was intending to become a graphic designer, but I wasn’t given a place by the Secondary School of Visual Arts. In an act of defiance, I started making music on my C64 and then learned to play the piano. After an unsuccessful entrance examination for the Music Academy I turned my attention to electronic music again.
In the second year of the University of Fine Arts, when I switched from graphic design to painting. But even back in the Secondary School of Visual Arts I was very interested in lectures about art history, which also had a touch of the clandestine about them. We borrowed movies from the French Institute and we were greatly impressed when, after Benczúr, Barabás and Munkácsy, we watched a colour film about Matisse. That was in the mid-’50s.
In 1986, at the age of 16. I attended the Ferenc Simon Leather Craft and Shoemaking Vocational School and the girlfriend of a friend invited me to audition for Szkéné Theatre. As they say, my life took a 180-degree turn.
I’d say it’s been always deep inside of me. I think it all started as early as in the cot, when I adjusted my nappy. When I was about 3 or 4, I already had clear ideas as to what I wanted to wear.
I started playing the violin when I was five, though my grandfather taught me about music and had me sing and do rhythm exercises even before then. Everybody in my family was a musician, so that was the norm for me, but I only decided that I’d also be a musician when I was 16. Before my university entrance exams, my father asked me what my career plans were. I could have answered anything, but it was then that I chose to become a musician.
József: When I was 18. I didn’t want to go to college, so my father said that I should become a confectioner, so I started training to be one. Later I decided to study after all and graduated from college too. Ibolya: I worked in the health industry, and completed a confectionery course later, as an adult.
I made my first attempts at the age of 11 or 12. Later, when I actually started to have my work published, I wasn’t so sure any more about this being the career for me. It took me some time to accept it.
When I was a child. An art teacher made me attend an after-school drawing workshop as a punishment for having drawn all the traditional “Matyó” patterns assigned to my classmates in Mezőkövesd. I was about 9 years old. Then I came to like it so much so that I did not have any talent for anything else. It was not my decision really, it was pure chance.
When I was five.
I don’t think it was me who decided. When I was a sophomore in high school, at the age when you are open to all kinds of things and have a lot of interests, we started a film club. I did a lot of drawings and designed posters for it. One of my friends had a brother, a cabinetmaker, who suggested that architecture would be ideal for me and that I should try it. I decided to take a closer look at it, and now here I am. My love of graphics was the first step. It seems I’ve gone through a long and slow journey of tiny steps, going from using paper and colour pencils, from flat surfaces to 3D. But the basic principle is the same.
I was 10 when I started at the Dance Academy, and 16 when I decided to stay and become a ballet dancer.
When I was 25 years old.
Zsolt: It was decided before secondary school. I was drawing something, and my parents said I should become an architect, and that’s what happened. Donát: When I was in secondary school, I wanted to create things that would be lasting, so I chose architecture. Ákos: Before university, of course. I wanted to do something that was both free and concrete, and I didn’t realize at the time that anything can be like that.
When I was about 16 or 17. I played basketball at the time, but I made a lot of drawings, too. I eventually realised I was more into drawing, so I decided to continue with this interest. I studied at the Tokyo arts university, but I wanted to leave Japan. I did not really want to go to the United States or any big city but rather was looking for something smaller, something more loveable. What I did know that I had to continue my studies. I was in a second-hand book shop when I saw “Anatomy for the Artist” by Barcsay, and I wanted to know where I could learn that kind of drawing style and anatomy. This is how I found myself in Budapest and attended the class of Zoltán Tölg-Molnár at the Academy.
I changed my original plans one term before taking my final exams at secondary school. I wanted to be a pilot, so I started learning Russian with great enthusiasm. But then I had to wear glasses, so those plans were not to be, and I changed my choice of career. If I was born again, I would change one thing for sure: I would start surfing 30 years earlier.
It was my career that chose me. I’m a generalist, so I don’t know if I have a career at all.
Ádám: Several times it looked like I had to make a decision about this career, but in reality it was always the profession that chose me. If I had to find the root of my decision to become an architect, it probably all started in my Dad’s concrete tester lab or in sculptor Rigas Hondromatidis' studio. I found it interesting to work with materials and create something that had never existed before. Sándor: When I was 20 and I was attending a mechanical engineering college in the country. Tibor: In 1992. Orsolya: When I was six or seven, playing with LEGO bricks.
It was all decided after I completed secondary school. I specialized in Maths and Physics in grammar school and good students from such classes typically went on to study architecture. As did I.
I think it was decided when I was 17. It was around that age that I started publishing.
It wasn’t a conscious decision. It simply turned out this way. It was sometime after I turned 25 that I begin to take making music seriously and for the past 10 years I’ve felt that this is what I like doing best and that this is me.
For a long time, I was intent on becoming a musician. Then, when I was 12, my art teacher made me aware of another possibility. In the end I applied to the metalsmithing specialty of art secondary school. Stepping into the workshop and seeing all those huge metal sheets I felt somewhat apprehensive at first, but I soon lost my initial fear when I got down to work and realised I was going to love it.
I made my first sculpture at the age of three. Art is an essential activity in my life. I realised fairly late that I could make it into a career. There was no big decision.
When I was still at primary school. On Tuesday nights we would watch The Onedin Line on TV. The only agreeable character was Frazer, the steamboat designer, and we thought, judging by his pretty wife, that this job must be ideal for picking up girls. Two of my friends and I decided that’s what we want to do for a living. Then, faced with the sad truth that there is no significant domestic demand for designing steamboats, two of us got into architecture, and our other friend into engineering.
It was pure chance, rather than a conscious decision.
I was 16 when I decided which university to attend. During my visit to the university, a professor from the drawing department talked to me and showed me his office, which was nice and spacious with a spectacular view (and maybe even a terrace). I was impressed. I wanted to become a great architect, and prepared for this career very consciously. I was only 20 when I started designing.
I knew when I was 8 or 10 that I wanted to do something that relates to the theatre, but I didn’t know exactly what. I grew up in Dunaföldvár, and I saw the operetta Countess Mariza performed by the local sales cooperative society in the community centre. It was extraordinary to see the lady who worked on the till at the hardware shop during the day playing Countess Mariza in the evening. Also, live TV broadcasts of opera and theatre performances made a deep impression on me. I saw them all.
At the age of 16, while I was still at grammar school.
If you consider sculpture a career, although it means much more to me than that, then I have to say I’ve never considered any other job in my life.
When I was a child. I wanted to become a farmer, because there were none in the family. A painter is also like a farmer whose cabbages end up on the market.
It was fate, luck, coincidence or whatever you want to call it. I applied to the set design and production design department of the University of Applied Arts, but the faculty was discontinued. I needed to make a decision fast, but I’ve never regretted it.
It was all decided in secondary school.
When I started art secondary school. At college, I first studied art restoration then switched to graphic art, but even back than I was preparing to become painter. I was advised to keep a low profile, so that’s why I started with those subjects.
ND: I was raised to become a classical guitarist. I wanted to do something creative and artistic, but with a more down-to-earth approach. A friend of the family inspired me to apply to study architecture. I was 16 when I made my decision. GZ: I was intended for a medical career, but I wouldn’t have been able to cope. I decided to become an architect when I was at high school, as a result of encouragement by my uncle, an architect.
RF: I was born into it. I was five when I got my first violin. At the age of nine or ten the dulcimer also interested me for a few months, but I stuck with the violin. JN: When I was small I used to sing on the shop counter. I’ve always been interested in music. I knew all the music my father had and even the children in our family even formed a band. We used to imitate Smokie mainly. There was a rather surreal period when I used to be a Queen fan. It became clear to me at the time of the tribute concert that I would be able to take on a band as lead singer.
I wanted to become an architect, and eventually, my books became my buildings.
When I was in 7th or 8th grade.
I have grown up to be an artist.
I began to realise that painting will be my thing when I was 14 but then doubts came and lingered on for a while: I hesitated that maybe film would be more interesting. Eventually, I stayed with painting.
I decided to try myself in the world of music at 21. That was when I applied to the Music Academy.
KI: When I was 9. I did not know that it would be my profession but I did know that I would design my own clothes. NR: At the University of Arts and Design. I wanted to be a stage costume designer but you could not specialize in that at the university, so this is how I came to study clothes and textile. KS: I never really decided. I went to the Secondary School for Art, then to the University of Art and Design, and somehow it happened… I had never planned it particularly.
I graduated from the Foreign Trade College in 1993 with a diploma in marketing. Then I applied to the University of Fine Arts three times and got in for the fourth. Drawing has always been present in my life.
K: At university, in late 2002. A: I studied to be an IT engineer but then I discovered concrete as a material in 2002...
Around 16.
CsH: In 1997, accidentally. TT: I am a forester by trade. During my school years, somebody took me to a hairstyle show, and it was there that realized that this is what I want to do.
I was 13 when it struck me.
It was written in the stars. My father was a military officer. I studied law. I began to draw when I was 4 or 5, and I have been a full-time artist for 20-22.
For a long time I trained to be a water polo player. I played from the age of 6, and was on the national team for my age-group for a long time, too. At 19 I came to realize that I would not become a national team player as an adult, so I quit from one day to the next, and turned to art. Looking for my field in art, I began to study portraiture in the studio of sculptor Gyula Gulyás, and it was partly his influence that led me to apply to the sculpture department of the University of Fine Arts the following year. I was admitted.
I chose fashion design just at the time of my entrance exam to the university but I am attracted to other fields of art, too.
I won a grant (Visegrád Fund) in 2007. That was the initial inspiration.
At 16.
Like Chagall said: I could be around 14 when I took my mother’s elbow covered with flour and told her: Mom, I want to be a painter. Before that, I wanted to be a patron of arts.
When I was a child. I grew up in a family of artists.
I was not admitted to the Latin department of the University, but I was to the metalsmith department. This is how I did not become a translator of Latin literature.
I never decided. I was born to be one.
It took me a long time to finally come to decide that I want to be painter. They discovered my talent in then third grade of primary school, so I had to draw, which made me dislike it. I started again at the end of secondary school, and then I already found a lot of pleasure in it.
When I was a child I wanted to be a confectioner, then, in secondary school a philologist, eventually I studied neurology. I began to make hats at around 40.

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