When I was first commissioned to do this job, my first thought was how difficult it was to be a successor of Gorka. It is difficult as to follow two star ceramic artists in their career must be a real burden. One of the reasons why the grandchild can be under pressure is that he or she might not want to be called an 'epigon'. Another reason might be that people keep on comparing them. Will I pass when people compare me to my mother or father? And the last burden is that 40-50 years ago people became artists after one appearance on TV as everyone used to watch the same channel.

I read about the Gorka family that they are really stubborn people. It was probably this stubbornness that drove the grandchildren off the path and chose one for themselves. They did not just inherit talent but also self-governing behaviour. This is why they did not become 'Little Géza' or 'Little Gorka'. Neither in art, nor in life.

Géza Gorka-Focht told me - when I visited him in Bakony - that when he was young, at the beginning of his ceramics studies, that it was not a big deal to learn working on pottery table. In reality, it is very difficult. He did so, but only because he worked with a really good tutor. I think about this exhibition that it is Géza's revenge on his former tutor, because, we cannot find one work that came off a pottery table. Géza also told me that he always makes consumer goods, though the question is, how much things that people wear as ornaments are more than ceramic statues? What is beautiful, I believe, is a consumer good, because I use it to beautify myself. And they really do.

I have the same feeling about the works of all three Gorka grandchildren. Discussion between man and nature is God given. In the patterns of these items, I seem to decipher patterns of leaves, flowers, pebbles and stones. It is nice to entertain the idea of what a work of art may give to us. And what it gives to the artist.

For me, they mean the environment where Géza Gorka-Focht lives - far from Verőce, but in hills and mountains like those. There is no Danube around, but there are creeks. And there is silence, and animals, and a nice mill where an autonomous man lives. When someone gets there, nothing seems to indicate that a pottery artist lives there. Inside, then, he will experience that the owner is really into making consumer goods. And also that he is in live with tranquillity and nature. He has made his peace.

Katalin Kondor