Trenton ReynoldsThis is Dabalon. My name is Trent Reynolds, and in this podcast, I have conversations with artists about materials. If you are enjoying this podcast and want it to continue, please subscribe or make a one-time contribution at dabalon.com forward slash podcast, leave a five-star rating on iTunes, and tell all your friends. The longevity of this program very much depends on your support and I thank you Lush Hungarian is An artist I found when I first signed up for Instagram he's one of the artists I had in mind to interview when I started this podcast and He's a photographer, collage artist, and painter. His work is currently on display at a gallery whose name I am not going to try to pronounce in Toronto, Canada. You can find more information in the show notes. I was very happy that he agreed to record this conversation with me. Here is my conversation with Lush Hungarian. also known as artist Peter Horvath.
Peter HorvathWell, first of all, maybe we should describe a little bit what I do. The latest series that I'm working on is, I called it Heroes. And. And they're portraits of people that I have an affiliation with, not personally necessarily, but that I might look up to or that have touched my life. And then also a bit of popular culture in there as well. So other people's heroes and I find the portraits that I, the images of people that I want to use in books or magazines or the internet. And then I start building the assemblage around that main image. So that's one element. And I guess the second element is movie posters. I've incorporated a ton of references through movie posters. Sometimes it's just using text from a poster. Other times it's a visual image. touchstone.
Trenton ReynoldsSo as you're looking through and looking for images to work with, is it just a byproduct of your natural consumption of popular culture and media or are you intentionally going out seeking an image of a particular person?
Peter HorvathWell it's a bit of both probably. Sometimes I might come across an image of someone that I really admire or that I want to include in the series. And then I'll just sort of put a little note of that somewhere, either on my computer or on my phone, just as a reminder that, you know, here is something for later reference. So I have built quite an archive of images. images. But what I was going to say, so that I talked about the first two parts, the icon themselves, and then the film posters. But the third part is the street posters that I tear down from billboard, like hoardings, buildings that are being under construction. You know, they put they put advertising posters up and things like that all over town and I've been pulling those down and and using them and so they get added on to on and around the main figure and really I'm so interested in the way that the imagery in an urban setting deteriorates over time. So, you know, when I'm, when I go downtown, for instance, or you know, any, really any city, certain parts of the city, there's all of this detritus that is peeling off of walls or boards or buildings, and I'm really interested in that. And so the work is inspired by those elements that we have in an urban setting. And so by using these posters, what I'm doing is creating my own entropic landscape. detritus around this figure. That was a big, long explanation to your very easy question, by the way.
Trenton ReynoldsNo, not at all. Well, so at what point did it become obvious to you or did you start getting the feeling that you wanted to include this detritus in your artwork?
Yeah.
Peter HorvathBut you know, it was probably about two, three years ago now, I think.
Trenton ReynoldsIs that like it before that you had been doing collage or. Right. Is that where it started is, is collage?
Peter HorvathWell, the collage work was more sort of. Your clearer definition of collage, cutting and pasting elements from magazines together and, or photographs that I'd taken together. But these assemblage pieces are quite a bit more towards the idea of the urban decay, for lack of a better word.
- Mm-hmm.
Trenton ReynoldsAnd is there something of that historicity that appeals to you in the collage work that you had done before? There's something about the work that I initially was exposed to on Instagram. There was this, there's a nostalgia. It's not like a dream in nostalgia. It's like this melancholy almost. Like there's a... there's a thoughtfulness in the images you chose to put together and there were abstract elements and talk a little bit about what that early work was, how it differed from the current work and then maybe how that... Is there kind of a trajectory or a natural extension that happened from that work to the current portraits?
Peter HorvathSure. I guess my early inspiration was the collage artists from the 1920s, the dataists, John Hartfield, Hannah Hawk. They were the first ones to really start peeling apart, repiecing together images. Sorry, my chair is a bit squeaky here. When you consider that... you know, that was a hundred years ago that they were doing this stuff. I mean, it's just absolutely fantastic. It was really, really out there and avant-garde. And so when I discovered that work,
I'd never seen...
Peter Horvathphotography used in that way. And it really inspired me to start thinking about cutting and pasting my own work. And so the early stuff I did was, as you described, they were very nostalgic and almost surreal. I would put elements together in quite a surreal way. I was using a lot of space elements, I think, earlier, and rainbows, and graphic cubes, and things like that. And slowly, I started to, as I started buying up all of these life magazines, old ones from the 1940s and '50s, on eBay, I buy big, huge lots of 50 and 60 of them. And I was, I was, you know, it was interesting to go through that material and see how things have changed, how perception, how humankind, our perception has changed. And we've almost become, well, we certainly have become faster in processing ideas and things that we see. But also, I think we've become smarter. You know, the early days of advertising is so, I mean, you read them now, and they just seem almost like kindergarten level, like really, really simple messages. And I liked that about them, that they were very accessible that way. So what I started to do was disassemble some of those ads and recreate an image based on, you know, elements of the ad that they were using. And I started to make almost these surreal environments, as I mentioned, out of them. And I called that series Interventions. And I think that they were probably, you know, very nostalgic as you described.
Trenton ReynoldsThat word is an interesting choice, interventions. What are you intervening? Or what is the intervention?
Peter HorvathThe intervention in this case was the disassemblage of their meaning, of the advertisement's meaning, for instance. and taking elements of it like there was an ad in probably from the 1960s for a cigarette some of the 1960s stuff the photography is absolutely fantastic and And the Life magazines are huge. So you're really seeing a great, great photography, quite large in these printed magazines. And so this was an image of a thumb and a forefinger with a cigarette in between it. And it had been tied up together together. and it was it was an ad for a cigarette company I can't remember what it was but I cut I removed the the finger and the cigarette portion and I put it in a bit of a surreal landscape and I had a woman from a 1940s image that I found in a bikini. I had her coming out of the top of the cigarette. Almost she's almost like crawling out of it. And I called that quit while you're ahead. Hard to describe these, you know, because they're so visual. Yeah.
Trenton Reynoldsbut when you when you're using those left magazines in those advertisements how did you were you actually collaging the actual life magazine or were you scanning them photographing them yeah combination combination of all of that
Peter Horvathbecause sometimes I'll find an element that's really small right and it's just interesting to be able to so when we see a very small little something on a printed page you might pass that by because because you don't really get to see the texture of it versus if you take that, scan it in, blow it up really big, then all of a sudden it becomes more interesting to me. And especially, I was gonna say, especially with old printed magazines, when you blow up little pieces, you start to see the dot.
Trenton Reynolds- I was gonna ask you about that. That was my question, is there something of that dot pattern
Peter Horvathyou find compelling? Well, I think it's beautiful. And it's, and it, you know, it just, it, it speaks to the early days of printing and, and, and the early days of advertising. So I was very much attracted to the quality of the color and the printing and the sharpness of those early advertising.
Trenton ReynoldsWhen you're talking about disintegration and mining the paper and the detritus of an urban setting, it struck me that there's something there. There's something in this relationship between meaning and the decay of meaning and the repurposing of old meaning into a new context. kind of this progress that happens on the back of, you know, the richness of this mess that exists in our history, you know? Right. There's kind of this building up and breaking down, the cycle of life, right? That's what it is. It's kind of a cycle of life in your work that I think is just – It's not a glorification of the past. It's not a romanticizing, although you do use romantic imagery. But it's this, yeah, again, this kind of melancholy, but also like depth of meaning that I think is missing in a lot of our visual culture right now, like, Like our attention span is so short that we just recycle, you know, the last two years of imagery and you're like going back years and years, you know, and there's a depth and richness to that that I just think is incredible. Wonderful. Anyway, so, so the, the previous image, you got this, this, you know, a bunch of life magazines, you were finding images and putting together, repurposing, intervening, and, you know, their meaning and putting them together in new ways. how does that lead you or is there a step between that and then the current
Peter Horvathportraits or yes so and that's a good question because so as I mentioned those were quite surreal you know in I was I was almost building these landscapes in these environments to to put these figures together and some of them were funny. You know, I was, I was playing off some of the ads and making images that had a sense of humor to them. And it was fun to make that. But as I was flipping through, you know, all of these magazines that I had bought, I started to almost relive the accomplishments of the 20th century. and and you know Life Magazine was as the title suggests about everything and like the weird stupid little stories to the larger-than-life stories and so I started to re-experience some of the events that had happened and the people that were involved in those and I was inspired at that point to start making a new series which I called American Century. And again, they were, so this was the beginning of my portrait, the making of portraits of specific people and pop culture icons. And so I did, I started working with images of John Wayne, Steve McQueen, I did a John F. Kedeney one. I think I did one of Jacqueline Kennedy as well. But they're very simple. They're quite a bit more simple than the previous images I had done.
Trenton ReynoldsBut this I'm remembering an image of Anthony Bourdain. Was that kind of part of the same?
Peter HorvathRight. That one was sort of an in between. It almost felt like a lead up to the American Century stuff. And the one of Anthony was I was a big, big fan of his show. I watched them all. I thought he was great. And so it was a bit of it was a big shock for me. when he passed away. And it was just a natural inclination for me to just, I just wanted to make something to sort of remind me of him. And it was a very simple image. It was really just a simple portrait of him. The American Century series was the lead up to the ones that I'm doing now. But they were very much more collage oriented versus the assemblage. Because this new work is not only working with paper and printed image and pigment, I'm also using spray paint on it, I'm using acrylic paint, I'm finding things in the back alley of my studio, like there's bottle caps that are all rusted, I'm pasting them on uh to the final piece you know things like that so there's a real dimensionality to them that my earlier work did not have what are you using as an adhesive you know a bit of spit
Trenton Reynoldsyou're putting bottle caps on there you're using something a little stronger than spit
Peter Horvathoh it depends if i was drinking the night before my spit's very strong i got strong spit Yeah, I mean, I have a few different adhesives that I use, but the final, when I'm done, I put a number of varnish coats on it, and that kind of seals it all in. And that is a top coat that I use. Right. So that keeps everything from moving around.
Trenton ReynoldsAnd the posters and stuff that you pull off the wall, are those primarily adhered with like wheat glue or something like that?
Peter HorvathYeah, yeah. So companies get paid to put posters on. up from other companies. Right. And they hate me. I bet they do. Yeah, they really don't like me. On the last-- so I try very hard not to get arrested when I go out doing these things, but it's all public space, right? So the companies that poster, they poster on hoardings that are generally either abandoned, abandoned lots where the building has been torn down and now it's just sitting there for years because maybe the developer ran out of money or who knows what and they've put a hoarding around a board they boarded up the outside and so these companies come in and they just start postering and on the last session i did it was was a bit of a mistake for me i went out i have a buddy of the two of us go out together And I went out, we went on a Sunday. It was a gorgeous, perfect, sunny, perfect temperature, Sunday afternoon. And of course it's super busy out in the world. And so while I was tearing down posters, there was a guy that pulled up, in a beat-up white van, and he was staring at us. And, you know, people look at us quite often. I'm pretty used to that. I just kept doing my thing. And then he pulled out his camera. He started filming, and I thought, oh, okay, you know, he's... curious he's filming you know everybody pulls out a iPhone to film now and then he struck up a conversation and it turns out that he's one of the guys that was putting the posters up on that particular corner and you know he asked me what I was doing and I said well you know I'm pulling this stuff down to make art. And he thought that what I was doing was pulling his posters down, I guess, to put up my own, whatever spray painted or whatever my own stuff on the wall. And he was, he wasn't really upset, but he was basically saying, you know, you're wasting your time because we're going to come back tonight and we're just going to poster over what you've done. I was like, oh, okay. I didn't realize, you know, and I didn't, you know, I was very nice to him. I said, you know, I didn't realize this was your wall. He's like, yeah, that's my wall. I said, okay. But of course, it's not his wall. He doesn't own it. Right, right. So that was the closest I've come to so far. It's a bit kooky. So they're competing within the industry themselves. And then there's me. I come in and I just tear it all down. And I love it when it's not fresh. Because when it's first put up, you can't get the posters off because there's only one layer. But after they've gone at it with each other, the two competing companies, then I've got many layers. And I pull them.
Trenton Reynoldswhole thing down. That's awesome. Spray paint and you hadn't had you not used spray paint before? Is that something that's completely new? Totally new.
Peter HorvathAnd what I mean when I start when I started making this work it was just a very inspiring moment in my in my life and here I started making these very large canvases. So they're 60 inch by 50 inch. They're pretty big. And there was all of a sudden room for me to embellish on top of the images that I was using. And at first, you know, I'm used to making, being able to work with something that has
control.
Peter HorvathBut spray painting is very difficult to control. So the first few that I did, you know, I said, I just want a little bit of pink over here by the lips. And I come in and you start to push down on the spray can and it's not coming out and you're pushing harder. And then all of a sudden you get a huge spurt and you've completely fucked it up. And so it took a while for me. to become more nuanced, you know, because it's, it is not, it spray painting is made for broad strokes, it is not made for the minute, the minute eye.
Trenton ReynoldsDo you like that, that lack of control, or that unpredictability of the material?
Peter HorvathWell, I've gotten used to the idea of it. Yes. and I've gotten better at it. So I now have a way, I have ways of doing it where I can control the can much better than when I first started, but there are still mistakes that happen. And, um, and I do like it. Right. And then I just go with it. You have to, you just have to, you, there is an element of surprise. I mean, even in collage, there's an element. of surprise. You don't, you don't, you can plan out what you want it to look like, but you really don't know. Right. Until you start cutting things up and piecing them together. And you're, it's always a surprise. Well, wow, that really worked well with that other piece. So, so yeah, I've come to accept the, the, um, accidental markings.
Trenton ReynoldsWell, it seems like that there's an authenticity in that chaos, right? Like when you see little blips and drips and things that don't look like they were entirely intentional or that maybe they're a byproduct of the process. There's a, yeah, just like an honesty about that, you know, part of it. part of what makes them compelling for sure.
Peter HorvathAnd as a creator, you have to be able to release the control. That's so hard to do.
Trenton ReynoldsIt's very hard to do. It's so hard to do.
Peter HorvathYeah. Oh, yeah. It was a complete... I had to shift my way of thinking. totally shifted.
Trenton ReynoldsSo in the earlier work, you had done some rendering on top of the photographs that you use. There are, there are line drawings that are kind of abstract shapes and circles overlapping graphic elements. Right. Were those all rendered digitally or how were they?
Peter HorvathYeah. So they were again, a combination. But if, if I, some of them I'm using, I like to make them a bit translucent. So they would be, I would add those digitally and, because I have control over the translucence of them.
Right.
Trenton ReynoldsSo that's a big jump from manipulating things digitally to using spray paint.
Peter HorvathYeah. It's quite the shift. It's been quite the shift. But I super enjoy it. I really love doing it. It's pretty fun.
Trenton Reynolds- Do you enjoy the physicality of going out and tearing stuff down and finding objects and gluing them down? And like, is there something to the actual process that you find, I don't know, cathartic or something?
Peter Horvath- I do because, again, I love seeing when I'm out in the world, I love seeing things that are falling apart. You know, like if I drive under a bridge, for instance, that was built 60 years ago. It's, you know, you can see all the big bolts that they've been using and all the rusted out areas because it's slowly decomposing. And I just, I call it the urban schmutz. And I just love all that. So being able to bring that into my work in a physical way, is very interesting to me. But also it's dimensional because previously, you know, collage is a one-dimensional thing if you're printing it. So, you know, the finished product is like a print, right? unless you're doing a smaller collage where you're actually cutting and pasting pieces together and that is your final, then you have a little more dimensionality. It's more like a 2D. But what I'm interested in is the depth that I'm able to achieve now with the papers that I pull down, especially because they are many layers thick. Sometimes there's 10 layers. Right a paper thickness and as I tear it up. I'm exposing different colors along the edges and so my tear edge may have Like I try to tear it on an angle sometimes and I will have many colors come through along the edges To build the thickness and then when I adhere that to the canvas it just it just gives it a whole different life
Trenton ReynoldsRight. I was standing on a platform at a train station in Chicago one time, and I noticed just on the pole next to me that a big chunk of paint had come off the pole and revealed, like, you know, it must have been 20 layers of different highly saturated colors of paint that had been applied over the years. And I just remember thinking, man, that's a painting right there. Like, if we could just blow that up, I'd put that up on my wall.
Yeah, I love that stuff.
Peter HorvathAnd you really only see that in an urban setting. You don't get that out in the country. You get nature out in the country. So that, to me, is a very urban thing.
thing. Urban aesthetic.
Trenton ReynoldsWhat is that? Is that hope? Is that love? Is that an appreciation for humanity? Why is that so appealing to you? It's here today, gone tomorrow.
Peter HorvathIt's the circle of life. You don't see that in nature as much, right? You'll drive out to the country and you'll see a gorgeous tree and you come back 100 years later and the tree's still there.
Right.
Peter HorvathBut in the urban environment, things are things are passing. Right. And and especially because they're manmade or or in terms of paint or postering, you know, those things stay even less in less time than than structures themselves. But even the structures are are not are not you know, forever.
Trenton ReynoldsRight. Now, you know, I wonder, I wonder that in regards to this last year, you know, that how it, it's not even that time has slowed down. It's like it stopped entirely. And I wonder, like, whereas in the, to use the metaphor of this, you know, these layers that happen in an urban environment, like in this past year where normally 20 layers would have happened, you know, no layers happened. So there's like almost time gap. we don't have those points of reference to mark the passage of time. Yeah, that's interesting. I don't know. There's this kind of... I don't know. I've felt this disconnection from my environment because everybody's been so isolated this past year. Right. I don't know. I feel like... Those layers are an important metric, an important kind of thing that locks us onto the world. It's kind of like a literal map of our movement through space. We need it to just even perceive experience, perceive time passing. Right, yeah.
Yeah.
Trenton Reynoldsum so you're are you displaying the actual canvases that you're gluing things these things down to are you displaying uh reproductions of the work or no they're the actual canvases are you selling prints of them or are you selling the actual work i sell both you sell the work
Peter Horvathyeah okay and then once if the piece once the piece is sold yeah the actual um assemblage, then sometimes I might do an edition of a version of that. But it's not identical.
Trenton ReynoldsBecause previously, hadn't you been selling printouts? Yeah.
Peter HorvathThey were all editions.
Trenton ReynoldsSo is this a unique series of work in that regard, too, as you're selling the actual physical object? Exactly. so we've kind of gone backward where did you start did you start as a photographer as a
Peter Horvathgraphic designer as a painter or where did you come i started as well the the short answer is that i've always had a camera in my hand because i come from a lineage of of photographers my father was a photographer both grandparents my mother and my father's fathers were photographers So, you know, from very early on, my dad put a camera in my hand and I just would carry it everywhere. So I I've always taken pictures. And so that's, you know, when I was talking earlier about discovering the data is I came from the world of image lens based image making. And I discovered there's a whole different way of using images. And it was amazing. it was a great moment in my life to discover that. So yes, I came from primarily from photography.
Trenton ReynoldsI feel like you have a very painterly aesthetic, like the way you, you compose images, uh, you know, different collage elements, the way you, uh, you know, your palette of colors. It's like photography, typically you think of it as being a reproduction, more or less accurate to whatever it is trying to capture. But there's a lot in your work where there seems like there's an aesthetic that goes beyond just photographic reproduction. There's like the colors that you choose, the color combinations that you choose. I don't know, just go beyond documentation. There's definitely a... well, there's a person behind that, those decisions, right? Do you feel like that that's something that's evolved or is that something that's just was with you? I don't even know if there's a question there, I guess. Maybe it's just more of an observation.
Peter HorvathI think I do sense a question there. So I've always had an affinity to painting. I've always had a great respect for painting. and I guess I'm a closet painter in a way. I can't paint, by the way. I can't draw. My daughter, she's 13. She's an amazing painter. Like, she just has this great sense of, you know, working with pencils or whatever she's working with. She can draw really well. I've never been able to do that, and that might be why I went into, you know, working in collage. That being said, I do, I guess I have a almost painterly sense of color, you could probably say, as you had described. And that just comes from staring at paintings for a a long time and i've got some great painting buddies and you know i'll go over and we'll shoot the for a while and and uh you know uh i i've always loved being around those big canvases which by the way i should mention you know coming from photography and from mixed media And photography historically has never been able to compete until really until recently with painting. And it really only started to become people taking notice of it in the 1970s. And so it was a constant sort of battle between... for an image maker, how does an image maker, a photographer, someone that works with images, cutting them up or lens-based, how do you compete with painting? And part of what has happened is everything got big. And that's why you start, you know, you start seeing these photographers like Ed Bratinsky or Gersky. They started making these giant, photographs because you know we had to start competing with painting otherwise you sell an 8x10 really it doesn't have the same impact that's my theory anyway
Trenton Reynoldsnot to mention the whole side of a building the scale surpassed what painting can do.
Peter HorvathRight. Well, that is, yeah, and that's an even more recent thing. The whole change shift over to muraling.
Right.
Peter HorvathAnd all those guys that were graffiti artists in the 70s that were getting arrested, they're all in their 60s now, and they're making these giant murals.
Right.
Trenton ReynoldsI know you've already mentioned the Dadaists, and maybe that that is kind of a visual reference or... a genre or period of art that you were inspired by? Or are there other maybe individual painters or genres of painting that you might have drawn inspiration from for your own aesthetic?
Peter Horvath- Other than my, I've got two close friends that are painters. James Lahi, he's a great painter. Shelley Adler also, she's terrific. So I get very inspired seeing their work and talking to them, but also from way back when I started to paint, attention to painting. I loved Francis Bacon. I still do. He was just absolutely extraordinary. And Kandinsky, of all people. Oh, I can definitely see that. And yeah. When I discovered Kandinsky, when I was probably in my late 20s, it was one of those aha moments where you're just absolutely, I was just astounded by what he did.
Trenton Reynoldshe was doing. You know, there's a, what is that museum in the Norton Simon in Pasadena? I don't know if you're familiar with that. Don't know that one. Yeah, they, it's a small museum, but fantastic if you ever get a chance to see it. They had a Kandinsky show that showed Typically, I think of condensate as being like bright saturated colors that are, it's more like playful and light and like, like life, there's, there's lots of life in there. And he had this series of paintings that are all really dark and muted colors. It's kind of spooky almost. Anyways, I was just remembering how there's much more gravity and a kind of moodiness in that series of work.
Peter HorvathWell, I think that just as an aside, as an artist gets older, their work changes and evolves obviously. And with Kandinsky, as you mentioned, his work started to change a lot because he painted right to the end. He was in his 80s. painting. And I think the common thought was that maybe he had sort of lost his mind or something. They thought maybe he had gone a little crazy because he was painting quite differently. And that wasn't the case at all. He was just experimenting. He was constantly growing and trying new things. And that is the biggest inspiration that you could ever have.
Trenton ReynoldsOh, for sure. I hope you go all the way. Composition-wise, do you have any conscious... frameworks that you use when you're thinking about how to organize a composition. I've used your work in classes as examples to talk about good composition. And, you know, there are, I mean, in like photography, you hear a lot about rule of thirds, and obviously it's on like your viewfinder. Often you have that little rule of thirds grid. I don't, feel like all of your images are just rule of thirds like are there principles or ideas that you use when thinking about how to organize space well it's a bit of an organic process
Peter Horvathi don't really think about it too much it's really i have a habit a bad habit i would say of centering things so sometimes i have to try and you know push myself a little out of the the central figure idea. Um, and, and, but it could be just slightly off center. And, and that to me at least shakes it up a little bit, but it's still pretty censored, uh, centered,
uh,
Peter HorvathI don't think about it. It just seems to be what comes out, to be honest.
Trenton ReynoldsWell, you're good at it, however it happens. Well, thank you. I appreciate that. Thank you. And then finally, I just wanted to talk about your current show. Where is it at, and can people see it, and how long is it up, and stuff like that?
Peter Horvaththat yeah uh i'm showing with uh gallery de belfoy in toronto and montreal right now they have three galleries in montreal and a big space in toronto and that's where my work is presently Um, so you can look at it online or if you happen to be in Toronto, it's there. Fantastic. And that's up through. Well, you know, COVID changed everything. So, uh, so what, what Belfoy does is they haven't had a proper show for probably two years. And so what they, what it's a huge, it's like 5,000 square feet is pretty big space. So they have, I guess they're cycling different artists through different areas of the space. And so it's not my show. It is a gallery artist show. But I have, presently I have three pieces in the window. They have a huge window display and four pieces on the inside.
Trenton ReynoldsAwesome. Congratulations on that. I know you were, you know, you had mentioned that you were working up toward that show. You made a lot of work for it and it looks great.
Peter HorvathThank you. Thanks. It was great to see it in that setting, you know, because seeing them in my studio or in my house because I run out of space in my studio. So I just I sort of lean them against the wall all over my house. But it was it was great to finally see them. in the gallery and they have a gorgeous space and it's lit very well, which is a bonus I always find because the colors really come out that way.
Trenton ReynoldsOh, for sure. And the three-dimensionality too. I imagine if there's good lighting on that, you really get a sense for how much material is on there.
Peter HorvathYou do. Yeah. It's always helpful.
Trenton ReynoldsLast question. Where does Lush Hungarian come from?
Sure.
Peter HorvathLush Hungarian. Well, do you know any Hungarians? I'm sure I have in the course of my life. Tell me about Hungarians. Hungarian. So Peter Ustinov, I think, came up with the best definition of a Hungarian. Not necessarily defining me, but it certainly defines... It's a good generalization, if you could say that. And this was back in the 70s that he came up with this. And he said the definition of a Hungarian is a guy that walks behind you through a revolving door and comes out in front. I love that yeah it's great I don't know if you know who he was he was a very funny actor and he just had all of these great sayings that he came up with so that's
Trenton ReynoldsThat's too funny.
Peter HorvathI love it. Yeah. I'm not saying that that necessarily describes me, but I've been to Hungary. I've been to Budapest a few times. It certainly does ring true in some ways.
Trenton ReynoldsI don't think I answered your question, but you know.
Peter HorvathI'll take it. It was a good quip, I think.
Trenton ReynoldsThank you, Peter, for making time to talk with me. I really enjoyed our conversation. You can see some images of Peter's work in the show notes for this episode, or even better, follow him on Instagram @lushhungarian and check out his website, peterhorvathartist.net. That's Horvath, H-O-R-V-A-T-H, peterhorvathartist.net. Links will be in the show notes as well. If you're in Toronto, go see the work in person and tell me about it. I wish I could go see it. And next week I will have another conversation for you. So come back and also rate me on iTunes, subscribe on the website, and tell friends and family. And go out and make some artwork.