Magyarul

He started his carrier under the influence of pop-art and hyperrealism at the end of the 1970s. He was still young when his pictures participated at the Biennial in Venice in 1980 and at the Biennial in Paris in 1982. At the same time his graphic works appeared in the important exhibitions of the World. (Eurographic Baden-Baden 1981, World Print Four San Francisco 1984, Graphica Atlantica Reykjavik 1987)

His interest gradually turned to the primer materials, the possibility of expressing himself through these materials and archaism. With these works he participated in the series of New Sensibility Exhibitions I-IV. and of Eclectic Exhibition. These series of exhibitions directed by Dr. Loránd Hegyi brought new view to Hungary. It became impossible to work further according to the old pattern.

Záborszky co-operated with the Gallery of Spicchi dell Est in Rome, later Gallery Gaudens Pedit in Lienz.

His works can be found in the most important museums not only in Hungary, but also in Albertina in Vienna, Kunstmuseum in Bonn, Munitipal Museum in Kyoto, Museum of Contemporary Art in Giza and in other collections.

His newest works were on show in 1996 Natura Naturans (Arte Contemporanea nei Musei di Triest) and Mythos-Memory-History (Kiscelli Museum Budapest, Brücke Gallery Lienz).

At the same time perhaps Záborszky's generation was the first in the history of the recent past art, that shook off the cultural political burdens themselves when the central direction was loosed, and at the same time they were considered partners in the second half of the 1980s. This generation was impossible to clear away as it happened to the generation a decade older. This generation was professionally competitive in more genres, too.

...Searching the details of archaical architectural forms, the honourable gate-form of Stonehenge and archaic art, the precolumbian and the architecture of the early Middle-Ages. He fanatically wants to create such a situation, with the use of silver and golden sheet, that once has been seen on a photo, the rising ( or the setting) sun shines through that special architecture, what can be a gate or perhaps a corridor. Such works are the above mentioned Stonehenge, the Gate of history, Hommage á Japan and Baroque quotation. It is for sure the meeting with the East, the Japanese art, effects him, the main theme of what is the emblematic, sacrificial character. The sensibility and grandiosity. The observing of the secrets and the signalling of their delicate meaning. The solemn being of the colour white but still common at the same time.

...In 1994 Záborszky spent a month in Bonn as the member of the artist's change between capitals. The last meeting with the museums in Germany and the works of such charismatic artists as Joseph Beuys gave the idea of using paper-mass as Beuys uses felt, or secretly placing plastical text on it (an example of that is the above mentioned work of Bonn). The Soft form is more simple, mysterious and cunning. This folded form (sheet or blanket) attractive in its own simplicity. Its surface is sensitive, as rustic effects can be reached with paper-mass, too, like with sand or sticked ground. Mysteriousness is meant by the slightly visible silvery glittering metal sheet.

Gábor Záborszky is again in front of a decision the case is perhaps not in meaning but mainly in aesthetics this time, but the two are strictly in connection. Whether he assumes the searching of glitter and of archaic beauty and together with these the heavy burden of universal art tradition or chooses a new way again.

Katalin Néray

Directress of the Museum of Contemporary Arts-Ludwig Museum Budapest

...Záborszky's early large plaster three-dimensional sculptures hint at prehistoric depiction of animals and figures, reminiscent of an ancient time and life - perhaps the time preceding mankind's settling long enough to create permanent houses of mud and straw. The built-up surfaces of plaster at first appear monochromatic, but in time reveal subtle histories like an old adobe wall or the famous back wall of the rock garden Ryoan-ji.

...the work of Záborszky has achieved an inner harmony that crosses all cultural barriers and finds resonance in all hearts.

Jane M. Farmer

independent curator Washington DC

...Záborszky's works are dominated by mainly two topics: one of these is light, the shining brightness omnipotently mastering things full of an almost atavistic horror: Gold and Silver. The other one is a gate which has been known by mankind from famous spots like Mycenae or Stonehenge where the structure of the gates is robust, mystic and heavy but at the same time totally simplified. These forms are created by the folds of drying wet paper mass which turn in Záborszky's oeuvre into gates opening toward infiniteness. Beyond them light is shining and it is evident, that behind these gates there reign places of mystery where mythical stories are told.

Peter Fitz

Director of the Collection of the Capital, Budapest