Magyar nyelvű bővített tartalmú honlap: http:/halmos.5mp.eu
My focus is on special ceramics techniques including :crystalline glazed porcelain , coppermatt raku, eozin (reduction fired lusters), reduction fired porcelain glazes and architectual ceramics.
I was born in 1956.
I graduated as a chemical engineer from the University of Veszprém and later I went on to do my PhD and obtain Researcher-Developer-Designer specialist engineer qualifications.
I have worked with ceramics since 1978.
Until 1989 I worked as a production engineer in the Majolica Factory of the Herend Porcelain Manufactory.
I worked for three years on a contract as a teacher of ceramic technology at the College of Applied Arts in Budapest.
Since 1989 I work as an independent ceramic artist in my own workshop in Bánd.
I am a member of the Veszprém Artists’ Guild since 1993 and of the Hungarian Artists’ National Association since 1996.
My works have been exhibited in many individual and collective exhibitions.My pieces are characterised by the special glazes
In the past years I have played an active part in the renovation of several big public buildings by manufacturing their ceramic ornamentation. These buildings are the following:
– The Catholic School, Veszprém
– Town Hall, Veszprém
– Institute for Transplantations, Budapest
– Museum of Applied Arts, Budapest
– Ministry of the Interior, Budapest
– Metropolitan Court of Justice, Budapest
– Exhibition Hall, Budapest
– Gresham Palace, Budapest
– Cifra Palace, Kecskemét
- Párizsi Udvar, Budapest
Works in the collections of the following museums:
– Zsolnay Museum, Pécs
– Museum of Applied Arts, Budapest
– Sammlung Egner,Frechen, Germany
– Laczkó Dezső Museum, Veszprém
– Ceramics Museum, Höhr-Grenzhausen, Germany
– 1993 Tapolca
– 1994 Várpalota
– 1999 Keszthely
– 2004 Museum of Applied Arts, Budapest
– 2005 Porcelain Museum Herend
– 2007 Veszprém
– 2008 Gönczi Galéria, Zalaegerszeg
- 2009 Rathaus ,Oberpullendorf , Austria
Major collective exhibitions:
– 1994, 1996, 2000 Pécs, Ceramics Biennial
– 1994-2004 Veszprém, “Spring Exhibition”
– 1998 Budapest, Museum of Applied Arts, “Our Utensils”
– 1999 Budapest, Museum of Applied Arts, “Ceramic Art 1945-1999”
– 1999 Tihany
– 1999 Tegelen, De Tiendschuur, The Netherlands, “Kristalglasuren uit West-Europe”
– 2000 Veszprém, “Veszprém-Bakony Balaton Exhibition” (2nd prize)
– 2001 Leeuwarden, Noordhorn, The Netherlands, “New crystalline glazes”
– 2005 Bonnieux, France
– 2005 Roussilon, Okhra, France
- 2006 Pápa
- 2007 Gmunden (Publicum's Prize)
- 2010 Izmir, Türkye Resim ve Heykel Müzesi
Reduction overglaze lustre glazes
This rare and complicated glaze technology, which originated from the Middle East, has been known for some 1200 years. European potters learnt the technique of applying gold-coloured silver and red copper coating, together with the manufacture of tin-glazed majolica, from the Moors. In the 19th century English, French, Italian and Spanish potters further developed the lustre glazes of the Italian Renaissance. Vilmos Zsolnay, following in the footsteps of William de Morgan, Clement Massier and Theodor Deck, and relying on the initial help of chemists Lajos Petrik and Vince Wartha, experimented with and introduced a number of original lustre glazes. He called his glazes which change colour during firing “eosin”. The eosin became the Zsolnay factory’s especially rich, overglaze lustre trademark technology. The various phases of this special glazing and firing technology were tested, improved and further developed in the course of 15 years of experimenting. The essence of the lustre glaze technique is that the bisque-fired glazed or acid-matted surface is covered in a clay iron oxide paste which may contain copper, silver or any other heavy metal. The objects thus painted are placed in a firing muffle that is fired in a heavy reduction atmosphere. The steam the metals give off stick to the glaze and form a colourful lustre which can be seen once the product has cooled and the slightly burnt paint paste has been washed off. This is a complicated and delicate technology which is extremely hard to reproduce.
Crystalline glazes used on soft-paste porcelain were developed in Sevres and Copenhagen in the mid-19th century and became particularly popular at the time of Art Nouveau. These glazes, which have a high zinc oxide and a low aluminium oxide content, become oversaturated in the course of cooling and thus gradually crystallize. In them crystals of up to 10 centimetres can develop in attractive, two-dimensional shapes. The different phases of crystallization result in varying shapes and colours. To add colour to crystalline glazes metal oxides (e.g. cobalt, iron, copper, nickel, chrome, etc.) are used. Glazing and glost firing require particular attention and great expertise as a number of requirements need to be met at the same time if a good result is to be achieved. Crystalline glaze is, therefore, among the glaze techniques most difficult to control.
I use porcelain for my crystalline glazes, fired at 1250 C grad ( 2300 F )
Hard-paste porcelain is characterised by a slightly light bluish white hue and the translucency of its clay. Production began worldwide after the joint discovery of hard-paste porcelain by Meissen-based Böttger and Tschirnhaus. Hard-paste porcelain requires firing at 1350-1400°C, a temperature much higher than that used for Chinese porcelain. The composition of materials used for classic German hard-paste porcelain is 50 % kaolin (very cleanly mineral) and 25 % feldspar (non-plastic rock material). Hard-paste porcelain is generally covered in thin, colourless, translucent and highly resistant glaze which resembles its clay in its composition but contains more materials that soften to heat. I decorate my porcelains with special reduction fired glazes as oxblood, celadon , titan blue, ...
Raku is a special artisan firing technique. The so-called American raku is a modern version of the original Japanese raku technique used in the course of tea ceremonies. It is a low-fire technique, where bisqued work is quickly heated to 900-1050°C and then taken out of the kiln with tongs and placed in a can lined with wood shavings, newspaper, leaves or a similar combustible material. As the can is covered, the combustible material produces a reduction atmosphere due to which the special paste mixture covering the piece of clay turns into the colours of a rainbow. The American raku technique creates dark, fiery colours and velvety surfaces. Non-glazed clay turns out grey or black after raku firing. This technique requires special attention and expertise. Due to the firing technique each and every piece is unique with a combination of colours and patterns that cannot be reproduced.