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KONCZ, András Painter (Budapest, 12th April 1953 - )  1974-1980: College of Fine Arts, Budapest, painting faculty. 1986: Stúdió Award; 1988-1989: Sotheby's Scholarship; 1990: The Scholarship of the Eötvös József Alapítvány and the Cultural Ministry; 1990-1991 he conducted he studies in Kiel, with the scholarship of the Cultural Ministry of Schleswig-Holsten. 1995-1996: Scholarship of the Roman Academy of Arts. Koncz began his artistic activities between 1976 and 1980 within the scope of the group named the Rózsa-presszó kör. Outstanding works from his early career were his black and white photos, which broadened the genre of portraits and self-portraits (Önarckép (nõ) /Self-portrait [woman], 1977; Én égek /I burn/, 1978), and his black and white image sequences (A lépcsõn lejövõ akt /Nude Descending the Stairway/, 1978) with their playful usage of roles and linguistics. As a member of the Rózsa-kör /Rose Group/, he prepared a number of works akin to the classical textual pieces of concept art (e.g.: Szabad üzenet /Free message/, 1977), minimalist installations based on the utilization and manipulation of reflections and light phenomenon (e.g.: Vonaleltérítés /Line diversion/, 1976), actions (e.g.: Rajzoljuk a világot! /Lets draw the world!/, 1975-76) and performances (e.g.: Megnyitó /Opening/, 1982), as well as a number of visual documentations. From the 1980's however graphics and paint became the defining medium of his works. His graphical work, entitled Gyönyörû ez a nap /This day is beautiful/ of 1982, also known as the emblem of Rabinext, and its oil paint version of monumental size, portrays the changes occurring in the style of Koncz. His large-scale, decorative, oil and canvas paintings, recalling prism-like effects, based on round forms, at times painted onto bakelite records (e.g.: Halgass meg engem! /Listen to me!/, 1983) are often characterized by pictorial portrayal, and a tenseness arising from an often ironically conceptual duality. From the middle of the decade his stylized figures, and oil paintings portraying figure segments often with base colors, were influenced by classical art, mythology and the themes and motifs of antiquity, as well as by enigmatic visionary scenes (Diszkoszvetõ /Discus Thrower/, 1985; Intérieur, 1985). Besides compositions in which the picture frame is broken up into pieces by constructive absences, and the typical dynamic brush usage found of his canvases, an important element  of his paintings prepared during the course of the 1980's was the presence of the white color applied in a pastel-like manner. At times cosmic, and at times frightening man-animal images, recalling Surrealist Painting and the figures of Poap Art appeared in his works (e.g.: Nyuszi /Rabbit/, 1987). Within the framework of his life portraying and comic-like works, portraying everyday scenes and figures he made use of dispossession, as a style theme of classical painting, and the technique of borrowing motifs. The paintings, which at first recycled motifs from the works of Picasso (Valaki közénk állt /Someone stood between us/, 1989; Miért lógatod az orrod? /Why are you holding your nose down?/, 1990), then later those of El Grecco (Balett az Olajfák alatt  /Ballet under the Olive Trees/, 1991) were the first examples of his usage of the technique of disposition in the Trans-Avant-Garde / Avant-Garde painting of Hungary. From 1990 decorative patterns, and at times even printed letters, recalling wallpaper and cylinder painting, appeared in his works (Közben Mûvészet /Meanwhile Art/, 1992). The modeling of the relationship between figure and pattern, the dealing with the problems the correlation of picture surface, picture space, and that of motifs, furthermore his paintings painted with wide brushstrokes, and gestures, in an expressive style, filled with intensive colors finely represent the style of Új Szenzibilitás  /New Sensibility/. During his scholarship to Rome between 1995 and 1996 Koncz, who had been using the different images of visual culture (paintings, magazine photographs) since the 1980's, painted a series of paintings based on duality of the ruins and Roman historical sites and the motif of Mickey Mouse. The Walt-Disney figure and the thematic tenseness of the classical building or sculpture fragments was stressed through line drawings, and the playful usage of the painting surface and the colored patterns (Akárcsak én, /Just like me/, 1996).