One day, when I saw his sculptures, I had a strange duality in me, because we usually do not imagine sculptures like this, not in this form. His works are airy or robust shapes, forms, with a metallic sheen.
Gábor Ĉech works with metals, initially as a car mechanic and welder he became acquainted with this world, and then he advanced further and raised welding to an artistic level. Gábor Ĉech’s creed:
For a human creation to be a masterpiece, to dazzle and delight people with timeless brilliance, something else is needed besides talent, theme, and perfection of execution. There is also a certain fairy element in the masterpiece, which radiates its wonderful light throughout, as tenderly and captivatingly as the northern lights shine on a summer night, unreal and yet luminous, because one can also see and read alongside it. The masterpiece should be real, precise, intelligent, purposeful, proportionate, carefully crafted, faithfully executed – and there should be something else too. It should also be fairy. And along with all consciousness, it should also be carefree. It should be built according to engineering rules, but it should also have chaos in it, the size of a teaspoon of the primordial nebula that dusts in the wake of the constellations, with grains of gold. Without fairy, there are only “great” or “perfect” works. A real masterpiece is sometimes not so perfect. It just radiates, the “just a dream” is also in it, the light of the stars, the fairy. And this is the part of the task when the artist can no longer help his work; the last brushstroke, the fairy, is done by God.” (Sándor Márai: Füves book excerpt, About the masterpiece and the fairy)
“My first exhibition was in 2005, which opened a new world to me. This was followed by a series of exhibitions, commissions, outdoor and indoor works. Thus, my name became increasingly well known in Révkomárom.
The process and beginning of the work are influenced by inspiration, the fact that I am just standing with the sculpture in progress, but in fact, I create almost every day. However, this would not be possible without a loving, caring family background, for which I am grateful.” (C.G.)
Gábor said in an article about him that he has an advantage over stone and wood sculptors, since he can cut and rebuild his work at any time, since for him the material is not a limit, but an opportunity. There is no predetermined size or shape, but the metal body can always be expanded to the state of completeness.
“I didn’t learn welding; I fell into the handyman trade, that’s how I grew up with my two brothers. The talent itself was a given, something that came from above, which matured in me in the shadow of the already mastered work processes and the love of the material. I discovered the magic of creation hidden in metal in an autodidact way, which requires a lot of humility and even more diligence. I make my works of art not by forging, but by meticulous welding from iron and copper.” (C.G)