Menyhért Szabó is the most characteristic representative of the generation of Hungarian sculptors who started their careers at the end of the 2010s. His art updated the toolkit of the classical sculpture of faces and nudes with the crumpled nature of rubber shells and industrial colour surfaces, reinterpreting the dramatic figures of ancient mythology in a modern spirit. Born into a family of artists in Budapest, Menyhért Szabó became involved with plastic arts at a young age. After a detour in Antwerp, he graduated in 2018 from the Hungarian University of Fine Arts, majoring in sculpture. Owing to his process-based working method, his works, using recurring motifs and self-quotations, are arranged in series and thematic units. His first works enlarged the human head to enormous proportions, combining the black raw material of industrial rubber with the classicising facial edges that radiate heroism. As a next step, Szabó made shell prints of the monumental sculptures. The rubber heads, created from the different coloured "imprints", were hung up as blank-faced masks in drapery during the installation. The chosen technique highlighted the most important form-building issue that Szabo was dealing with, the contradictory state of sculptural solidity and wrinkling elasticity. He sometimes "freezes" the unsupported shells in a particular position: he hardens them with resin or casts them in bronze, then places them on a traditional pedestal or encloses them in a frame. In his newer works, naked male bodies reminiscent of antique torsos are added to the crumpled silicone masks, which can be worn as clothes – maybe even as part of a fashion show. At the same time, these evoke the art-historical tradition of depictions of the flayed skin of the satyr Marsyas, who competed with Apollo. To counterpoint the mythologizing and antique style character, Szabó uses neon plastic colours or industrial metallic car polish paint on his rubber or metallic sculptures. The crumpling heroes become the protagonists of the tragic epics of the hi-tech age, while they can also be seen as enigmatic contemporary self-portraits. Szabó lives and works in Budapest, in the studio at the art colony on Százados út, where he was born. His characteristic sculptures are regularly included in group or solo exhibitions in Hungary. Gábor Rieder

Menyhért Szabó is the most characteristic representative of the generation of Hungarian sculptors who started their careers at the end of the 2010s. His art updated the toolkit of the classical sculpture of faces and nudes with the crumpled nature of rubber shells and industrial colour surfaces, reinterpreting the dramatic figures of ancient mythology in a modern spirit. Born into a family of artists in Budapest, Menyhért Szabó became involved with plastic arts at a young age. After a detour in Antwerp, he graduated in 2018 from the Hungarian University of Fine Arts, majoring in sculpture. Owing to his process-based working method, his works, using recurring motifs and self-quotations, are arranged in series and thematic units. His first works enlarged the human head to enormous proportions, combining the black raw material of industrial rubber with the classicising facial edges that radiate heroism. As a next step, Szabó made shell prints of the monumental sculptures. The rubber heads, created from the different coloured "imprints", were hung up as blank-faced masks in drapery during the installation. The chosen technique highlighted the most important form-building issue that Szabo was dealing with, the contradictory state of sculptural solidity and wrinkling elasticity. He sometimes "freezes" the unsupported shells in a particular position: he hardens them with resin or casts them in bronze, then places them on a traditional pedestal or encloses them in a frame. In his newer works, naked male bodies reminiscent of antique torsos are added to the crumpled silicone masks, which can be worn as clothes – maybe even as part of a fashion show. At the same time, these evoke the art-historical tradition of depictions of the flayed skin of the satyr Marsyas, who competed with Apollo. To counterpoint the mythologizing and antique style character, Szabó uses neon plastic colours or industrial metallic car polish paint on his rubber or metallic sculptures. The crumpling heroes become the protagonists of the tragic epics of the hi-tech age, while they can also be seen as enigmatic contemporary self-portraits. Szabó lives and works in Budapest, in the studio at the art colony on Százados út, where he was born. His characteristic sculptures are regularly included in group or solo exhibitions in Hungary. Gábor Rieder

Menyhért Szabó is the most characteristic representative of the generation of Hungarian sculptors who started their careers at the end of the 2010s. His art updated the toolkit of the classical sculpture of faces and nudes with the crumpled nature of rubber shells and industrial colour surfaces, reinterpreting the dramatic figures of ancient mythology in a modern spirit. Born into a family of artists in Budapest, Menyhért Szabó became involved with plastic arts at a young age. After a detour in Antwerp, he graduated in 2018 from the Hungarian University of Fine Arts, majoring in sculpture. Owing to his process-based working method, his works, using recurring motifs and self-quotations, are arranged in series and thematic units. His first works enlarged the human head to enormous proportions, combining the black raw material of industrial rubber with the classicising facial edges that radiate heroism. As a next step, Szabó made shell prints of the monumental sculptures. The rubber heads, created from the different coloured "imprints", were hung up as blank-faced masks in drapery during the installation. The chosen technique highlighted the most important form-building issue that Szabo was dealing with, the contradictory state of sculptural solidity and wrinkling elasticity. He sometimes "freezes" the unsupported shells in a particular position: he hardens them with resin or casts them in bronze, then places them on a traditional pedestal or encloses them in a frame. In his newer works, naked male bodies reminiscent of antique torsos are added to the crumpled silicone masks, which can be worn as clothes – maybe even as part of a fashion show. At the same time, these evoke the art-historical tradition of depictions of the flayed skin of the satyr Marsyas, who competed with Apollo. To counterpoint the mythologizing and antique style character, Szabó uses neon plastic colours or industrial metallic car polish paint on his rubber or metallic sculptures. The crumpling heroes become the protagonists of the tragic epics of the hi-tech age, while they can also be seen as enigmatic contemporary self-portraits. Szabó lives and works in Budapest, in the studio at the art colony on Százados út, where he was born. His characteristic sculptures are regularly included in group or solo exhibitions in Hungary. Gábor Rieder

Menyhért Szabó is the most characteristic representative of the generation of Hungarian sculptors who started their careers at the end of the 2010s. His art updated the toolkit of the classical sculpture of faces and nudes with the crumpled nature of rubber shells and industrial colour surfaces, reinterpreting the dramatic figures of ancient mythology in a modern spirit. Born into a family of artists in Budapest, Menyhért Szabó became involved with plastic arts at a young age. After a detour in Antwerp, he graduated in 2018 from the Hungarian University of Fine Arts, majoring in sculpture. Owing to his process-based working method, his works, using recurring motifs and self-quotations, are arranged in series and thematic units. His first works enlarged the human head to enormous proportions, combining the black raw material of industrial rubber with the classicising facial edges that radiate heroism. As a next step, Szabó made shell prints of the monumental sculptures. The rubber heads, created from the different coloured "imprints", were hung up as blank-faced masks in drapery during the installation. The chosen technique highlighted the most important form-building issue that Szabo was dealing with, the contradictory state of sculptural solidity and wrinkling elasticity. He sometimes "freezes" the unsupported shells in a particular position: he hardens them with resin or casts them in bronze, then places them on a traditional pedestal or encloses them in a frame. In his newer works, naked male bodies reminiscent of antique torsos are added to the crumpled silicone masks, which can be worn as clothes – maybe even as part of a fashion show. At the same time, these evoke the art-historical tradition of depictions of the flayed skin of the satyr Marsyas, who competed with Apollo. To counterpoint the mythologizing and antique style character, Szabó uses neon plastic colours or industrial metallic car polish paint on his rubber or metallic sculptures. The crumpling heroes become the protagonists of the tragic epics of the hi-tech age, while they can also be seen as enigmatic contemporary self-portraits. Szabó lives and works in Budapest, in the studio at the art colony on Százados út, where he was born. His characteristic sculptures are regularly included in group or solo exhibitions in Hungary. Gábor Rieder