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<!-- EDIT BELOW THIS LINE -- Ervin György Hollósy [Hungarian pronunciation: air-vin dyordy ho lo she] also goes by Gyuri Hollósy; was born September 19, 1946 in the small village of Bad-Aibling in Bavaria, Germany. His father's family came from Transylvania (Máramarossziget, Erdely once the Kingdom of Hungary now part of Romania) were forced to relocate and settled in Hungary. They moved to the city of Eger in 1920. As they were originally Szongott's by having moved to Hungary the government suggested that the family Hungarianise name. Thus his grandfather took his mother's maiden name and the family became Hollosy. It was also decided that his father's godfather was a Hollosy specifically Hollosy Simon. His father Ervin Simon Szongott Hollósy, after graduating with a degree in law and music, became a military officer during the war. In 1942 he was awarded the Hungarian Order of Vitez (knights) for his heroism in the war. After the war, he became a producer and broadcaster for Radio Free Europe. His mother's family (originally from Poland) came to Hungary in the early 18 century as nobles possibly to be in the liberation liberation against the Hapsburg’s during the Rakoszi time period. The family were military officers and farmers. They owned a large orchard growing fruit on the outskirts of Recsk east of Eger. His mother was Ilona Erzebet Kosztka who loved to do folk embroidery, a craft she enjoyed for most of her life. [Gyuri great grandfather was a huzzar officer during the 1948 revolution against the Hapsburg rule. When the revolt was crushed by the Hapsburg's with the aid of the Russians, he had to flee to escape execution and came to the United States. He settled in Essex, New Jersey and became a citizen and learned the craft of jewelry making. When the Civil War broke out he joined the Union army and fought till the end of the war. In 1868 the Hapsburg’s gave amnesty to all exiled Hungarian and allowed them to return to their homeland. He then returned, married late and raised Gyuri grandfather August Kostka who became and military officer and engineer and married is  grandmother Elizabeth Kosztka, his second wife. (His first wife died in childbirth] Although Gyuri Hollósy is obsessed even to this day with his Magyar roots, he grew up speaking American mixed with German and Hungarian, considers himself an American-Hungarian as most of his life was spent in America. He is also descended from two Hungarian painters.  On his father's side Simon Hollósy 1857 - 1918 the greatest Hungarian representatives of 19th-century Naturalism and Realism.  On his mother's side Csontváry Tivadar Kosztka; 1853 – 1919 was part of the avant-garde movement of the early twentieth century painted from Hungary to the middle East.  He currently lives in Titusville, New Jersey with his wife, Marjorie A. Carhart and his daughter Annalise S. Hollósy. Content:		1 Life		2 Quotes		3 His art		3 Works		4.Exhibitions		5 References		6 Sources		7 External links LIFE In 1955, he and his family came to the United States to settle in Cleveland, Ohio. His first three years of summer were spent in a Hungarian monastery run by the Piarista Order. At this summer camp the order organized fa camp for Hungarian children whose parents were fresh in this country working at acclimating themselves to a new world. It was on his third summer a new chapel was being constructed for the monastery. In his curiosity he visited the chapel when ever he could. On one occasion he witnessed a seen that changed his life. The chapel's main structures contained large oak support pillars. On this occasion he stopped and sat in the chapel's back pews to watch a young priest heating pokers, in red hot coals, and then used them to burn and etch figurative image of saints into the wood. The room was filled with smoke and the sound so sizzling of the wood burning. It was so impressive and breathtaking to him that in that moment he decided that this is what he wanted to do with the rest of his life. He was 12 when he chose to become an artist for the rest of his life. That image still caries his quest even today. As a young inspired artist he loved to draw and paint but another seed was implanted unbeknown to him was the like for three-dimensional works. He felt the need to work with his hand and make something our of materials. He feels his passion for this came from his grandfather on his mother's side August Kostka, who was an engineer. He loved to tinker and invent things with of metal lathes. He had a small simple metal castings operations and welded things together making objects that worked. But what clinched his desire for sculpting was when he was 15 sick with an severe ear ache and left at home for weeks. His mother would bring home a few pounds of clay to keep himself entertained. His started to model heads, animals and even flowers faster then his mother could supply him – clay on a daily basis. During the summers of 1964 and 1967 he apprenticed with Hungarian sculptor Frank Varga Sr, in Detroit, MI, where he learned how to model clay doing mostly portraits and figures, learned the process of enlarging, carved stone and wood. This confirmed his desire to do sculpture. But it was not enough as it was the process of making sculpture that he liked and not the laborious finishing of a work. He wanted sculpture to be like the process of painting, allowing him to be free to make choices right down to the last stroke. He took Saturday art classes at the Cleveland Institute of Art whereupon after graduating from Brecksville Senior High he continued his studies at the Cleveland Institute of Art. At the end of his third year at the Institute, he left to study with sculptor David Hostetler at Ohio University wherein he received his BFA in 1969. After completing six years of military service with the United States Coast Guard, he continued his studies at Tulane University in New Orleans, LA under the tutelage of sculptor Jules Struppeck. Upon earning his MFA in 1977, he cofounded the Sculpture Center of New Orleans for people who wished to learn sculpture and for independent artists looking to learn some techniques. He also began teaching at Tulane University, New Orleans, LA. In leaving New Orleans which he felt was a major part of his life he went to teach at Washington University in St. Louis, MO, then at Bethany College in Lindsborg, KS. He returned to the east coast as an instructor and later as Assistant Academic Director for their apprenticeship program and as Gallery Director for their Extension Gallery for the Johnson Atelier Technical Institute of Sculpture in Mercerville, NJ. At the end of 2003 he left the Atelier to pursue his career as an independent artist. In his studio besides working on his art and teach classes for the Grounds For Sculpture as well as mentoring other artist; people who are interested in learning the process and developing their skills. QUOTES

He believe that much of his art is inspirational from his surrounding, his heritage [Hungarian,] his up bringing [American/Hungarian] and his subliminal influences around him. The reason he became influenced by Medieval Armour is because as a boy he loved the knights stories and when he was going to school at the Cleveland Institute of Art at lunch time he would spend time looking around the armory exhibit and be fantasizing before returning to class.

He also feels that there are time a certain person can inspire him, just their presence, to make unique sculpture or spark visions of sculptures.

He also believes that there a people who spark an unknown feeling, a feeling that eats deep inside him and needs to be explored. These are muses that play an intricate part interacting with him when his personal inspiration is at a low point and bring forth the voices that guide him through a brilliant insight and unknown challenge.

The most recent exploration with a muse-artist conjured him to research his feeling and his complex relationships he has with a muse during the creative process.

Here are a few quotes.

“A muse are difficult inspirations to comprehend. As a muse's relationships with an artist is based on vulnerability, it becomes a time of intimacy as the artist's heart is open, subject to zealous committed expressions whereas the muse is in conflicted with indifference and objections. A fragile time, as a muse's creative influence becomes intransigent to the truth in how to see a vision that the artist has been lead to. This is a time when an artist has to be staunch as his passion is in question, a time when an artist has to be lionhearted, seeking the incomprehensible, alone, in the darkness, to be disseminate, and brought to life.”  GyH

“A muse is essential for the artist's creative council. It guides one's work into honesty of mind and soul.”

“More often then sometimes, as artists, we come to realize the unexplainable and the mysterious that occurs during the creative process, but only if we as creators, in the companionship of our creative influence, by having both talent and technique, and, most importantly, by working hard at listening to the passion of our inner muse, does that develop and become our creation. When this happens we have to continually pull things together and imagine things as these ideas start clicking, tugging, changing and growing in making it, the art, inspirational.”

A Muse-Artist Alliance

“Unassuming and misunderstood the artist gets caught in a curious feeling when taped by a muse that has the charm and seductiveness to open the deepest doors with opportunities. It keeps speaking to the artist even when the creative influence is not present. Once It has entered the artist's deepest space It [the muse] leeds to an unfathomable creative inspiration ushering the creator to unknown worlds and visions. At first there are moments filled with joy and exuberance. Then there are struggles, confrontations and scuffles that will pull the artist down, around, over and up. A muse can be a real shrew! A muse can be beautiful. A muse can be a genius. It wakes you and creates the flow of the day. It stipulates how this creation is to be made or not to be made. It demands respect, loyalty, confidence, responsibility, safekeeping. and at times secrecy. It strokes your face into zealousness and infatuation. And yet through all this as artists we need to be in touch with the mysterious, and the intrigue that excites us and raises our blood pressure to a passionate state. It is a spirit that lingers and declares It's demands apart from the physical person who inspired the vision. The muse is the gift that the universe attaches to the womb of the mind in helping the artist bring forth visions not normal to the creative mind.” HIS ART Gyuri Hollósy develops his art in his studio at the Grounds For Sculpture in Hamilton, New Jersey. He is most known for his figurative work using his overlapping sections resembling femoral armor. His personal signature style and inspiration came from Medieval and Eastern armor, a world filled with fantasy, imagination and invention. He used this to take traditionally whole figures and develop an expression through bodies that are fragmented, partial, shell like, and imperfect. To make these figures he constructs and fabricate sections in cast metal or resin bonded sawdust and assembles the parts into figures. Once a figure is put together the forms become powerful, nostalgic, wistful and moving, and a symbolic language that becomes filled with suggestive meanings. As a sculptor his passion and fixation is to work with the human figure. The figure has always endlessly captivated him with exploring and developing new approaches to the classical form, specifically the female form. It is with this form he can benefit in seeking to capture the intangible in a figure, the form's soul, its poetic essence, whether his composition is suggestively abstracted or a mix of fantasy and realism. His delight in working with the figure is because it allows him to imagine visual concepts like a dream and formulate poetry in three-dimensions. When he works with a figurative concept the visions for him are unending and ever changing. Every gesture, whether it is small or large, has a meaning and a purpose in the composition. It is a narrative in the development of a work as it grows and changes; from day to day it formulates like magic, out of nowhere, into a new dimension. These works have been made in bronze, cast iron and resin bonded sawdust. The resin bonded sawdust, which he developed, is a technique that has allowed him to work on larger works, because it is light and moveable, are intertwined figures that require him to rotate the work constantly in their development and seeking the works ultimate expression throughout its entirety. Since he has been working on his art during the day as he would jokingly say, a studio that has proper light, he returned to painting after a 30 year hiatus. His preferred medium is oil. . . . . . . . . . . . . . . . WORKS He has had a number of major and minor commissions. Some of his commissioned work are; Our Heritage, (a high relief dealing with the influences of greater New Orleans area,) Metaerie, LA, (1983); Aspirations for Liberty, (Commemorating the 56 Hungarian Revolution,) in Boston, MA,(1989);  1956 Hungarian Revolution Monument, New Brunswick, NJ, (2006); The Family, at the Municipal Complex Center, Peoria, AZ, (1992); Joseph Cardinal Mindszenty Memorial, Cleveland, OH, (1977); the Hungarian Heritage Monument, (a memorial commemorating Hungarian who lost their lives in WWII, the 1956 Revolution, Vietnam War and the Gulf War,) Sunset Memorial Park, North Olmstead, OH, (1986, 2001, 2004); Dr Martin Luther King Memorial, Dr, King Memorial Center, Lafayette, LA, (1979) and at the Grounds For Sculpture in Hamilton, NJ,(2006,2014). EXHIBITIONS In 1980, Hollosy received his first solo exhibition, at The Graphic Extension in New Orleans, LA. Since then, his work has been exhibited in 25 solo exhibitions and hundreds of significant group exhibitions, including the International Sculpture Exhibit, Washington, D.C. (1980); REFERENCES SOURSES EXTERNAL LINKS