It is difficult to argue with Csaba Szegedi's opinion that verbal explanations are unnecessary for his pictures, but some sentences can still be described. If nothing else, it is certain that he is a painter to the core, viscerally, with a deep commitment not only to painting, but also to the problems raised by painting. In this way, during his career, he examines the perceptibility of the plastic nature of bodies on canvas, or rather, the limits of the abstraction of figures rolled into a flat plane, the changes in light-shadow relationships on the facade of a building, the transfigurability of numbers and letters into a non-figurative image, perspective, reflecting the situation. , and we could go on and on, going through stations to the present day, to surveying the positions of a kind of liberated pleasure painting.
In his New York (or Manhattan)-inspired series, he quickly went beyond showing the delicacies of the perspective of the cubes towering next to each other like dominoes, but rather the painterly lessons that can be drawn from the dynamic structure of the city, the rhythm of the color stripes still preserved in traces of visual origin, the saturation of color strength and busyness. And in his latest pictures, it's as if he has "let himself go": in their structure, their structure is vaguely inspired by Ben Nicholson, beside his pictures based on the undulating mixture of organic and geometric forms, the spirit of Miro now seems to be floating above his palm-sized paintings. A few nice spots of color, a few lazily stretching lines, a sleepy blob or two of paint; the freedom of a pleasant dream. Cramp-free painting, a glass of clean water in this confusing world.

Dr. Gábor Pataki's introduction in the catalog of the exhibition 
„Akrilképek (Acrylic Paintings)” 
Szt. István Király Múzeum, Székesfehérvár, 2014.