Zenit No.II/2 Painting

Tamás Kopasz (Szeged, Hungary, 1958) 1977-1981 Hungarian University of Fine Arts 1993-1999 The establishment and operation of the Mű-Terem Gallery 1995-2009 Teacher in the Ferenczy István Visual Workshop 1999-2005 Teacher in the Szőnyi István Summer Art School 2000-2011 Teacher of Dance- and Art High School in Győr, sculpture dep. 2009- Associate Professor of Eszterházy Károly College 2010- Art Director of GébArt International Art Camp in Zalaegerszeg 1987-1990 Derkovits-scholarship 1989-1990 Pollock-Krasner Foundation,(USA) scholarship 1990 Prize of Barcsay Foundation 1990 Budapest-scholarship, München-Feldafing (Germany) 1993 Budapest- scholarship, Salzburg, (Austria) 1995-1996 DAAD scholarship, Atelierhaus Worpswede, (Germany) 2000 Munkácsy-prize 2003 Budapest- scholarship, Frankfurt am Main, (Germany) 2004 Hungart- scholarship 2006 Roman scholarship, Hungarian Academy in Rome 2015 33.Spring Exhibition in Salgotarjan, Grand Prix 2015 A Műút c. Literary Criticism, Art and Fine Art Prize Member of: MAOE, Artists’ League, Allience of Graphic Artists, Hungarian Painters’ Society, Society of Sculptors, Hungarian Händel Society "Kopasz does not prepare any precise plan, he does not work out his paintings with the help of sketches. When the process of painting starts, he would not know yet, what will happen. He cannot foresee, because he could not foresee, how the painting will develop, or, thinking it further, he could not know whether there will be a (“ready”) painting as there is no visible, planned aim or assurance that the process of creation ends successfully. We can only hope that! Fear and stress of blind flying, for Kopasz, is not a paralyzing feeling, rather it is a psychical tuning. We can say that the fear takes part in controlling the artist. In the midst of work –as a unique “self-controlled signal transmitter”– it reminds him incessantly that there is a risk of interrupting the blessedness in any time. So then, at the end, it helps him to concentrate more and more on the intensive and attentive empathy of ecstatic state. The strangling excitement of the not planned, not known development of the image and the precise finishing, in other words, induces psychical and emotional tension between the euphoric happiness of the birth of the picture.