It is difficult to argue with Csaba Szegedi's opinion that verbal explanations are unnecessary for his pictures...and yet, one can attempt a few hesitant thoughts. 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 has examined the perceptability of perception, the plastic natures of bodies on canvas, or rather, the limits of the abstraction of figures rolled into a flat plane, the changes in light-shadow on a building's facade, the transfigurability of numbers and letters into a non-figurative image, paradox cases in perspective, perceiving reflections and so forth, through stations till the present day: observing the positions of some kind of liberated painting for pleasure.

In his New York (or Manhattan)-inspired series, he quickly went beyond presenting the perspectivic delicacies of cubes towering next to each other, domino-like; instead, he seems to be more engaged with the painterly lessons he can learn from the dynamic structure of the city, the rhythm of the colourful stripes retaining traces of their visual origins, the composition-making cohesion of saturation and intensity. And in his latest pictures, it's as if he can finally roam free: in their structure, beyond his larger canvases, vaguely inspired by Ben Nicholson in their structure and composition, based on the undulating combination of organic and geometric shapes, his palm-sized paintings seem to be watched over by Miro's spirit. A few intense blots of color, lines stretching lazily, groggy clouds of paint; the freedom of a pleasant dream. Liberated painting, a glass of clean water in a world becoming murkier by the minute.

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