Sculptor Géza Kovács was born in 1958 in Targu Mures (Romania). He finished his university studies in Cluj Napoca (Romania). Until now he has presented his sculptures in 109 individual exhibitions in Austria, Bulgaria, Hungary, the Netherlands, Romania, Slovakia and Switzerland. He has participated in 364 group exhibitions in seventeen countries, from which more than 40 were international expositions.
His art creations have won four fellowships in Hungary, 23 artistic awards granted by professional juries in France, Greece, Hungary, Romania and Spain. On the occasion of the 15th of March, 2007 he was handed a state distinction – “Pro Cultura Hungarica” Plaquette – by the Hungarian Ministry of Education and Culture in Budapest for his artistic activity.
On September the 21st, 2009 the president of Romania distinguished him with the “Cultural Merit” Order of Romania for his artistic career.
He has created six monumental artworks and participated in seventeen artistic workshop camps. More than 103 of his works are part of 81 public collections in Bulgaria, Japan, China, Hungary, the Republic of Moldavia, Italy, Romania, Sweden, Spain and Slovakia. He is member in more artists' organizations in France, Hungary, Romania, Sweden and United States of America.
His small sculptures can also be found in private collections in the United Kingdom, the Netherlands, Hungary, Germany, Italy, Romania, Switzerland and Sweden.
He is a member of the Association Internationale des Arts Plastiques (AIAP) Paris (F), of the Association of Hungarian Fine and Applied Artists (MKISZ) Budapest (H), of the Romanian Fine Arts Union (UAP) Bucharest (RO).
Presentations of Géza Kovács’s artistic activity so far can be found in the volumes Contemporary Hungarian Art Cyclopaedia, Humour Cyclopaedia, Tibor Wehner: Cyclopaedia of 249 Sculptors, Alexandru Cebuc: Encyclopaedia of Contemporary Romanian Artists as well as Tibor Wehner: Modern Hungarian Sculpture 1945-2010, and also in the International Contemporary Masters, vol. VII, Ed. Word WideART BOOK, 2013. Santa Barbara (United States of America).
Below you can read a presentation written by one of his critiques, art historian Tibor Wehner:
About Géza Kovács’s Sculpture
The artistic initiatives of the twentieth century have shuttered the classical artistic ideals from their very basis: the avant-garde creators and their creations questioned all multimillennial conventions of sculpting, of artistic shaping; and under the constellation of a new practice and spirituality, they created an artistic universe founded on new values. The object of sculpture has changed, and similarly its technique and matter, just as has changed the vision of artistic creation, thus the status of the artwork as well. The greatest change was to render the earlier exclusively valid anthropomorphic and zoomorphic shaping principles to the waste pit: in the boiling fervor of the various isms, in the consecutive waves of artistic schools anything could become a sculpture, and the previously noble materials – bronze, marble, wood – could be replaced by any trivial materials. The crafty, artistic shaping of the artworks has lost its imperiousness as well: beginning from the works of Duchamp and Picasso can be erected on pedestal or placed in recipients as sculpture any found object, may it be any scrubby, everyday shoddy: that is, it was enough the pointing gesture, the setting out of the original context, the act of transforming a piece into artwork. In the process of declaring a found object, a ready-made ware as artwork, the methodology of creating object-collages has grown into a distinct domain, which generates new constructions from various elements synthesized into requisites by the passing time, from objects often originally not interrelated or not even connectable. Such collages, objects are constructed by the Transylvanian sculptor Géza Kovács from Sfantu Gheorghe (Romania), who works in the spirit of the classical avant-garde ideas. (...) The artist works in the traditional branches of sculpture as well – but the creative periods of the nineties and the artworks of this first decade of the new millennium, from which he compiled the collection of this exhibition, all attest his strong affinity to the object-collage.
We may consider the carrier of Géza Kovácsan unusual one: the artist born in Targu Mures (Romania) had initially graduated from technical, engineering college studies, and on the turn of the eighties and nineties was gradually developing into a sculptor beside practicing his engineer profession. From the nineties on he has been a regular participant of sculptors’ creation workshop-camps in Hungary and in the same time he has been consecutively organizing his individual expositions in Transylvanian and Hungarian cities. While against, or maybe as a consequence of the storms of history and political unrests, many of his contemporary fellow artists have decided to stay in their motherland, or by not an easy process, to resettle in Hungary (younger and older Transylvanian artists had been immigrating in more waves into Hungary in the last two-three decades of the last century) – Géza Kovács has kept his loyalty towards his birthplace. At the same time, he has developed a kind of multi-presence: he sometime appears in one place, at other time in another, his artworks or assemblages – living an almost autonomous life – continually wander as exhibition collections in the whole Carpathian-basin, or lately even in the western parts of Europe, while he sometimes follows his expositions, and sometimes returns to his home in Sfantu Gheorghe.
This assemblage presented here – except one – may be considered object-collages composed of iron elements joint and welded together. Surveying these artworks, one can easily discover that the components of the sculptures earlier were elements of smaller machines, devices, mechanisms: cogs, dials, circles, rings, bands, fasteners; which – torn away from their original function, but keeping somehow their functional, content-related aspects – appear in brand new contexts, relieving their industrially formed or manufactured special beauties, now represent exclusively their decorative aesthetical aspects. It is the essential characteristic of these works that they loose their original interrelations and embody new, extraordinary connections, ruled some kind of formal logic: the creations generally do not have bodies, rather there are construed according to a certain skeletal order. Every component is highlighted by its contours: thus are created the intriguingly running lines, space crossings, spatial interferences, and all this generates a thrilling atmosphere of motion even in immobility. This is a plastic abstract world, oriented very much towards the past, inducing strange associations: in the era of computers, digitalization, virtuality these creations awake the illusion of palpable objects, tangible materials, the feeling of old time functionality and practicality. But all these can stand in front of us only as fragments, only as memento-like reflections of ancient perfection, as miniaturized monuments with intimate atmosphere. This is what also the writer Lajos Magyari referred to when writing about the works of Géza Kovács: „We could imagine almost all of these small sculptures in monumental enlargement, maybe they would gain then even more shocking significances.”
The object-sculpture of Géza Kovács, pertaining the promise of shocking significance blends tradition and innovation, the spirit of international artistic initiatives and the intentions rooted in the deepest folk-art, ancient and newer crafts in a special way. The artist, collecting the components of his creations, cleans meticulously away the rust from the iron surface, then through a complicated patina-generating procedures creates a new brownish-grey rustic surface, a layer of artificial rust, protecting the artwork, resembling and exactly characterizing the original. His procedure purports symbolic aspects too: for preserving, declaring the essence of things we need manipulations that alter their essence making use of appearances. Consequently, by the iron-statuettes of Géza Kovács constructed from former accessories we can wander in the sophisticated interpenetrating fields of reality, art, artistic reality.
“Gaál Imre” Fine Art Galleries, February 11, 2009, Budapest,Hungary