World Councillor



The aim of my enthusiastic work for visual art education is to continuously renew art education, assist to its adaptation to current professional and social requirements, support the decision-making process in educational matters as well as accumulate and spread knowledge concerning art education and its environment. I feel very privileged to be, already for the second time, an elected member of InSEA (International Society for Education through Art) World Council, and to represent Europe, whose diversity has always fascinated me.

I am a holder of a degree from the Moholy-Nagy University of Arts and Design as a teacher with a textile specialization in Visual Arts and Design, and a Ph.D. Degree from ELTE University, Graduate School in Educational Research with the dissertation entitled “Object making and design in the visual education of children aged 6-12 in the light of a diagnostic survey”. Now I am the director of the Art Teacher Master’s Program at ELTE TÓK at Eötvös Loránd University, Faculty of Primary and Pre-School Education, Department of Visual Education and at Moholy-Nagy University of Arts and Design in Budapest, head of 3612+VisualSkillsLab, board member of ENViL (European Network for Visual Literacy). My main research fields are visual culture, visual literacy, creative spaces, alternative methods and contemporary art in visual education, multicultural education, transdisciplinary art education, built and educational environment, developing and development of 2D and 3D skills, especially plastic, design and drawing skills.

In my work, I focus on the art teacher training, but I train passionately future early childhood educators as well. I teach art and didactic, my main research interest is diagnostic, to detect problems and improve this field. My experience has shown, that communication with the schools and teachers is not enough, however being present at the schools and listening to the educators lead to new and forward-thinking ideas. Without the company and direct support of the teachers, the researcher can never reach their goal and are completely lost. Kindergarten teachers, pre-school teachers, elementary/primary school teachers, generalist teachers and in-service teachers all teach passionate art in their everyday lives, but this work is not represented enough in art teacher associations, they need more help to develop, especially in relation to the new concepts of early childhood education and elementary schools in Europe, which proposes a complex, interdisciplinary, competence-based curriculum. 

I’m eager to keep getting to know the everyday lives of art educators from around the world, their unique answers to the challenges of our constantly changing occupation and environment. However, I want to effectively share this knowledge with those of my colleagues and students working around me, who are able to pass on the positive innovations as multiplicator of the world. My goal is to successfully represent the unity and the connection between art theory, the practice of art education on different levels (multidisciplinary levels, art education as a possibility to help, museum & public education, etc.) and pedagogical research (diagnostic and action research in connection with publication), contributing to obtain as many operative new members for InSEA, who are just as much dedicated to art education like I am.

Because of all this, it would be a pleasure to have the opportunity to move my students and colleagues toward colourful international art dialogs with others, using visual language, as I exerted in all my publications, workshops, round table discussions and artistic interventions.

I try to put all my activities into the light of Contemporary Art. The reasons of this approach: It reflects the issues of all our todays, of our society, our private lives, and also the most up-to-date questions in and of the arts. The role of contemporary art is to ask questions, and not to give answers. It could be said that contemporary art is a diagnosis rather than a cure or a therapy. In contemporary art ethical issues are more important than aesthetic aspects. In addition to such traditional techniques as oil painting, graphics and modelling, visual artists freely experiment with unconventional materials, or employ customary ones in novel ways, and even the latest technology becomes a vehicle of expression as a matter of course. Using a variety of methods and materials, working in an experimental spirit, relying on curiosity and seeking originality: these are the fundamental goals of the current methods of art instruction. With changing basic conditions, however, we must lay a special emphasis on their conscious use; we must refresh our repertoire, we must combine tried and tested exercises with new ideas, we must deal with the subject matter from a contemporary perspective.