The Art of
Stefan Zsaitsits

Words by Livia Casati
Visuals by Stefan Zsaitsits

It’s safe to say that you’re an enchanter of dreamers. Your drawings are able to communicate so many feelings that makes me wonder: what is behind Stefan’s black and white lines? What is the meaning of these surreal drawings?

It’s hard to pin down a meaning or main theme that could sum up the content of my work. But I think most of the time the works are about the absurdity in life, in-between states, fleeting memories and the contradictions of everyone. Sometimes like the state you are in before you fall asleep. Or the moments when humour turns into tragedy – and vice versa. Uncertain conditions that oscillate between absurdity and rationality, imagination and reality.

From your biography it’s clear that you decided to study art around your 20s, but what was your trigger to start drawing?

During my studies I concentrated almost completely on painting, but after my diploma I was more and more dissatisfied with the results of my paintings. To “clear” my head and perhaps find a new perspective, I began to draw – which led to the fascination and concentration on drawing that I still have.

In a world full of colors, you decided to go black and white, is there a reason why you are avoiding colors? Also, you seem to use more traditional media rather than digital ones, is there a reason behind this choice?

I understand the monochromatic nature of drawing and working only with pencils as a more intense kind of abstraction. I am not really avoiding colours or see the lack of colour as a loss, but rather as a gain in possibilities, in choices and imaginations. Additionally, it never occured or appealed to me the idea to draw or paint digitally, as it is a completely different medium for me. I like the sound a pencil makes on paper and the feel of it. There is a sensuality in it that I do not get by working digitally.

In today’s age, there are many tools that artists use: which is your favorite one?

Honestly I don’t think you need that many tools to draw. A piece of paper, pencils and an eraser – that’s really all you need – and off you go. Another important aspect for me is that I do not have an “undo” button. The choices I make during drawing stay on the paper. You can of course erase them, but the pen or rubber still leave some marks and if you look closely the process or history of the work can still be found.

You’ve participated in a lot of exhibitions, any new project that you would like to share with our readers?

In December, there will be a print edition that will be released in cooperation with Unit-London that I am really looking forward to.