I was born in Budapest in 1950. From the age of fourteen I studied art anatomy, painting, graphic art and different art techniques. At my early twenties I worked as a porcelain designer then as a literary illustrator.

In 1975 I was admitted to Commonwealth of Engravers where I could work with internationally well-known artists. I had nearly forty exhibitions of my works in home galleries. My first introduction abroad was in Stockholm in 1980. Since then I have exhibitions continuously, mainly in Europe. Some of the more important ones:
1981 Frankfurt, 1982 Sondenborg, Koblenz, 1983 Kaiserslautern, 1984 Brussel, 1985 Vienna, Brussel, Duisburg, 1986 Meiderich, 1987 Hinterbrühl, 1988 Oberhausen, 1989 Vienna, 1990 Freudenstadt, 1991 Feldbach, 1992 Neumark, 1993 Klosterneueburg, Moulin Rouge, Vienna, meanwhile I taught art anatomy in Germany and Austria. I have just set off my private art school for talented youngsters to get acquainted with art techniques. My work in the first place are motivated by surrealism in which themes are centered on humankind. Lately my three dimensional ideas are sculptured into stone: I make sculptures.

About the pictures
You don't have to go far beyond reality to find the meaning of these pictures. If you have a key to the symbols, it is easy. The key can be your imagination based on experiences, knowledge and never forgotten fairy tales. Kolozsvári's paintings carry our adult world with the innocence of a child's eye. The master lightly drives your fantasy to a conclusion which may not be his original conception. His pictures are like labyrinth with many ways to get out. For example, Blue cuckoo egg is a painting which tells us a story about a blue-blooded lady (her nobility is shown by her blue greyhound) whose unique personality is symbolized by a blue cuckoo egg. She offers it, actually herself, to a strange looking man. He is not taking it yet, though those ordinary eggs in a bowl on the table show that he had three very simple relationships. Believe me, he is going to accept those blue eggs.
Or In the palms of God is not a painting which opens a door to fantastic fairy tales, told by grandmas on long winter nights? Once upon a time, there was a beautiful princess, who felt in love with a very poor boy. The evil king did not let them marry, so the Good Spirit helped them to escape. Roots represent the strength of the withholding power. Or is this picture another tale?
The ornithologist is a grotesque sample of the fanatic, who can be a man or a woman. The master's humour is brilliantly sparkling through the canvas. Just take a look at the ornitologist's leg, which ends in a hand!
If you want a weightless floating, have a look at it In threes. The lovers' position is beyond reality, and yet light. How the third person is unwanted is evident. But the man in the middle is not a cheater? He is turning a young face to the lady hiding an old one. Is not it familiar? Is something to let our eyes turn to beauty, away from wars, starving and sickness. We are hungry for perfection.
Let's take delight in this picture.

The master about himself
My works do not talk but show. They are like pantomime. Essence of herbs, eatable all over the world. It is only me who set up barriers in chosing themes. I am free, but not fanatic or extremist. I learn a lot about creation but not enough about Homo Ludens. Variation of human relationships are endless. Love is the most colourful of all. I am not short of themes. Figures, conjured up in plane and space live and feel toward points of the compasses. Irony is spontaneous in my style. General ease is very much needed nowadays. Basic standpoints flow without thinking: my works must be internationally understandable. They must not be uninteresting, but on the other hand they must be windows to the world everywhere. I do not care about size, technique or colour if my works are born to my pleasure.
I always begin working as though it was the last one. I know and feel love, friendship, humour.
However hard I try, I am not able to make more beautiful than my three daughters.