• 1949

    Born in Budapest, Hungary

    1964-1968

    Miklós Radnóti Secondary School, Budapest

    1968

    School-leaving exam

    1968-1969

    Literary texts

     

    Publications in Hungarian, English and German Language

    1969

    Military service

     

    Works in Pannónia Film Studio

    1970-1972

    Lóránd Eötvös University (ELTE), Budapest, Faculty of Law

     

    Rabbinical Seminary, Budapest

     

    Works as author and actor in Peter Halasz experimental theatre

    1972

    Emigration from Hungary

    1972-1973

    Jerusalem, Israel

    1973-1980

    Paris, France

    1973-1974

    Studies in Art History, Université Libre, Paris IV., Vincennes, Paris, France

    1975-1979

    Jewish Teological studies, Paris, France

    1980-2002

    Antwerp, Belgium

    1980-1983

    Jewish Teological studies

    1983-1987

    Gallery Langer, Antwerp, Belgium

     

    Post-Impressionist paintings by French & Belgian painters

    1988-1992

    Gallery Langer, New York, USA

     

    Modern & contemporary European artists

    1989-1992

    Galerie Langer-Fain, Paris, France

     

    Contemporary European & American artists from the '60s, '70s and '80s

     

    Photobased fine art

    1993-2002

    Designs and creates overclothes for French brands

    2002-2003

    New York, USA

     

    Starts working as artist

     

    Photobased art

    2004-

    Budapest, Hungary

     

    Photobased art & Installations

    WORK

    "Just like everyone else I have my individual characteristics. Perception of life as a mosaic is one of these. It is not the picture that consists of many elements but life. Changes, repetitions, the feelings and expressiveness attached to everything, the surreal nature of interconnectedness, all of these elements are rendered to a huge number of picture elements that we keep on editing throughout our lives until slowly a personal picture is created – life itself. (excerpt from an interview)

    Lajtai chose digital photography based picture creation as a progressive multimedia tool. This is the best way for him to show us the multi-layered, intermediated content he perceives from the world. He simultaneously sees the inside and outside, the whole picture and the smallest details. He perceives only a few things as a wholeness, but he firmly believes in the truth and power of details. His works resemble to mosaics: an abundance of details amassed to result in the picture of his vision. The end result is varied. Wholeness, the illusion of wholeness, sometimes incomplete wholeness (the Incomplete works) or the abundance of detail (Expressive German Forest, God is in the Details series).

    His style was influenced primarily by Henry Matisse, Willem de Kooning, Franz Kline, Pierre Soulages, and Anselm Kiefer. The strongest influence is that of American abstract expressionism.

    Besides the works that may be interpreted as photos, from 2010 onwards he started creating installations using textile, paper, metal, glass and other materials. His work using religious objects – a tallit, a prayer-book – (Sacred Geometry, Jeremiah Lamentations) are truly unique. Parallel to this he started using wrapping materials as a symbol of packaging and escape, or of the protection of objects, of saving and hiding them. As a tool of packaging plastic is part of Lajtai's set of symbols (Plastic Harmony, Natural Plastic); it is a conceptualization of the message of loss. We lose in the battle against nature (Climate Change), our favorite objects, nice and old materials end up as garbage (Wrappings), our defining memories fade away (Philosophers, Paradise Never Happened, Amnesia). Wholeness disintegrates, an increasing number of details start missing (Missing Parts, Details are Important).

    As a protest against the countless forms of racism he shatters the glass on many pieces of his works featuring pictures behind glass. Just as victims in real life, sometimes the picture itself gets damaged, not only the frame (Introduction to Human Geography, Work Against Racism).

    His most recent works represent confusion, chaos, the gradual fading and loss of content (Cultural Confusion, This Land is Your Land, Human Geography, Inside Walk). Population is increasing, we have more and more devices, we live in a constant information overflow and yet we feel that the walls are closing on us, we understand less and less of the world outside and of ourselves. Lajtai suggests that the choice is still open (Alive or Dead), we have to take the chance.

    Judit Mosoni-Fried