He initially studied photography. Besides visual arts, he is also engaged in film, literature, and music. He is a founder of the Vajda Lajos Studio in Szentendre and was a member of the band A.E. Bizottság from 1980 to 1986. In 1983, he created the occasional theater group Inkaszámtan and, together with friends, founded the Új Modern Akrobatika music-performance group (1985–1992) and the band Batu Kármen. He has been involved in visual arts since the age of 17. In the mid-1960s, together with István ef Zámbó, he established a club in Kecskemét where they organized exhibitions, literary evenings, and beat concerts, participating themselves as performers. The idea for the open-air exhibitions held in Szentendre between 1968 and 1977 also originated at this time.
During his early years in Kecskemét, the painting of Menyhért Tóth had a significant influence on him. From the early 1970s, he regularly exhibited his works. He expanded his ideas about modern art through experimentation with intuitive artistic expressions. Using collage techniques, he draws, paints, applies photographs, produces video films, and writes poetic texts. In his work, visual art, poetry, music, and various creative activities are closely intertwined.
In his early experimental period, free, natural, and spontaneous expression became the defining characteristic of his artistic creation. His rich visual imagination and ideas make it difficult to divide his oeuvre into distinct periods, although certain cycles can be distinguished technically (such as the “Finom” series, “Azonos lények,” and various “szenvedések” series).
He is a typical representative of the Eastern European underground avant-garde, aiming to create a new type of art object in terms of concept, quality, and form. He often works in a simplified, neo-primitivist style, but within his artistic experiments that break traditional genre boundaries, sound poems, raw meat compositions, happenings, performances, readymades, objects, and environments also reflect his diversity.
His style frequently combines the direct object cult of pop art with the explicit sexual symbolism of graffiti. In Hungarian art, he presents with unique honesty—free of illusions and modesty—the most obvious things that characterize the most realistically existing, developmentally lagging Eastern European societies.
From the characteristically earthy peasant and petty-bourgeois world, the emptied folklore, and second-rate modernism, he builds a unique universe rich in associations (e.g., “Háztáji szeánsz,” “Nemzetközi haldokló”). Instead of creating unique art objects, his goal is to reveal the latent power of objects.
In the banal items of the dilapidated suburban environment—the backyard animals, the kitchen, the plastic bag, the coldly flickering neon tube, torn foil, and brand-new shiny aluminum water bucket—he seeks ancient, archaic values. From the refuse of everyday life, he creates ritualized cliché situations modeled on the cult-mythic associations of the Third World.
In his art, the associations of material debris can be interpreted both as myth and counter-myth. The artist presents the mixture of symbols and banalities, their neglected vulgarity and chaotic assembly mercilessly yet lovingly, loosely, and acceptingly.
Unlike his Dada predecessors Tristan Tzara and Marcel Duchamp, he does not aim to provoke but to influence, making visible the invisible dimensions of life.
