Born and raised in Transylvania, Sándor Nagy is a trilingual, transdisciplinary artist based in Glasgow, Scotland. A graduate of the School of Art Brașov and West College Scotland, he is currently a mature student at The Glasgow School of Art, specialising in Fine Art Photography. Nagy’s practice spans multiple mediums, including Happenings, Performance Art, Nature, and Land Art, often exploring themes of interconnectedness and the human experience. His work has been recognised internationally through awards, publications, and exhibitions. Nature, performance, and ritual are key elements in his practice, where he views art as an energy conduit connecting humanity, the planet, and the cosmos across space and time. Through his diverse artistic journey, Nagy continues to push boundaries and create art that resonates with the viewer’s sense of existence.

Thanks for being with us, Sandor! Can you tell us how you overcome creative blocks?
Overcoming creative blocks is a deeply personal journey for me, one that often begins with reconnecting to nature’s rhythms. I find solace in immersing myself in green spaces, whether through leisurely walks in the forest or observing the subtle interplay of light and shadow. These small ‘miracles’ clear my mind, allowing my creative instincts to resurface. Revisiting older works also serves as a dialogue with my past self, helping me rediscover forgotten ideas or paths worth exploring. At times I sketch freely, letting my thoughts flow onto paper without judgment, or experiment with new art forms to challenge habitual ways of thinking. There are moments, however, when stepping away entirely proves most restorative. Activities like reading, cycling, climbing, or fielding, offer clarity and a fresh perspective. When I return to my practice, it is with a renewed sense of purpose and openness to the creative flow.

What advice would you give to artists who are just starting out?
For emerging artists, my advice is to remain endlessly curious and embrace the art of experimentation. Don’t shy away from exploring diverse mediums, techniques, and themes; through this exploration, you will uncover your unique voice. Build a strong foundation by seeking guidance from mentors, studying the works of other artists, and immersing yourself in art history. However, trust your instincts and let your individuality shine. The creative path is rarely linear. Challenges and setbacks are not roadblocks but opportunities to grow, refine your craft, and deepen your understanding of yourself and your practice. Above all, practice relentlessly. Every brushstroke, every sketch, every idea brought to life contributes to your evolution – not only as an artist but as a storyteller of your distinct perspective.

What challenges did you experience during the creation of your work, and how did you overcome them?
One of the most consistent challenges I face is achieving a balance between conceptual depth and visual clarity. Translating complex ideas into artwork that resonates with viewers requires both precision and introspection. I address this by refining my concepts through iterative sketches and prototypes, and by seeking constructive feedback from trusted peers. Another challenge lies in working with time-intensive techniques that demand patience, meticulous planning, and unwavering dedication. When working outdoors, I must also contend with the unpredictable nature of weather, which can significantly impact both the working conditions and the materials I use. I’ve learned to embrace flexibility, adapting my approach to accommodate unforeseen changes and allowing the environment to play an integral role in shaping the creative process. Ultimately, it is perseverance and a steadfast commitment to my vision that propel me forward, enabling me to overcome obstacles and remain true to my artistic goals.

Are there specific advantages or challenges associated with working in your chosen mediums? Have you experimented with other mediums or techniques?
Each medium I work with offers unique advantages and challenges, shaping how I communicate my vision. Photography, for example, enables me to capture fleeting moments, manipulate light and texture, and uncover hidden layers of the world. Within this medium I explore the interplay between external reality and my inner landscape, creating work that is both reflective and revealing. However, photography demands technical precision and the ability to adapt to unforeseen circumstances. In contrast, performance art provides a direct and visceral connection with the audience, transforming my body into the medium itself. This form of expression requires vulnerability, emotional depth, and physical stamina, even if many of my performances are created solely for the camera. As a trans-disciplinary artist, I fluidly navigate between photography, performance, painting, and nature-based art, transcending traditional boundaries to construct cohesive narratives. This approach enriches my practice but also presents challenges, such as balancing the demands of each medium, maintaining coherence across disciplines, and resisting the temptation to overextend myself. Despite these challenges, the diversity of my practice deepens my creative exploration, offering endless opportunities to convey complex ideas. Experimentation remains central to my journey, pushing me to embrace the tensions and possibilities inherent in being a trans-disciplinary artist. This dynamic process enhances my understanding of the interconnectedness of art, nature, and the human experience.

How do you know when a piece is complete?
A piece feels complete when it successfully conveys the emotions and ideas I set out to express. There is a moment when all the visual elements and conceptual layers align in a way that resonates deeply, often accompanied by a sense of calm satisfaction – when the work finds its equilibrium. However, I recognize that some pieces evolve over time as my perspective changes and new insights emerge. Trusting my instincts is essential in knowing when to step back and allow the work to exist on its own terms, rather than continually reworking it. The concept of completion is something I’ve come to view as fluid, developing and refining itself over the years. As my practice has matured, I’ve realized that the timeline for completing a piece can vary greatly. Some works come together in moments, as though destined to be finished quickly, while others take years – or even decades – to evolve. The process itself becomes an integral part of the work’s journey. Learning to embrace both the immediacy of quick completions and the patience required for long-term projects has been vital to my artistic growth. I’ve also learned that art must respond to its context, reflecting both personal experiences and broader societal shifts. Not only does timing play a crucial role, but the location must also be appropriate to fully realize the work’s potential. For example, fourteen years ago, I wasn’t entirely sure my project would be understood in Hungary, where I initially conceived it. Today, however, I feel confident that the cultural and artistic landscape in Scotland provides the right environment for its ideas to be embraced and appreciated. This delay was not merely about waiting for my personal development to catch up but also for the cultural, social, and locational contexts to align with the work’s message. Now, as both the timing and location feel right, I believe this piece can resonate in ways it couldn’t have before. It has been a kind of hibernation, waiting for the right conditions to fully come into its own.

Are there any upcoming events or additional information you would like the audience to know?
Yes! I am thrilled to announce that my work will be featured in the Countdown exhibition at Asr Gallery in Tehran this December. This collaboration with curator Arezu Zargar offers an incredible opportunity to engage with a global network of artists, and I am honoured to be part of such a meaningful and impactful project. This year has been incredibly productive and rewarding, despite facing unforeseen personal challenges that required significant adjustments in both my professional and personal life. These experiences have only deepened my resilience and commitment to my creative practice. As a result, I had to postpone my attendance at the Geumgang Nature Art Biennale in Korea, where I had been invited as an artist-in-residence. However, I am looking forward to participating in the next edition of the biennale. In the meantime, I have been fortunate to take part in several group exhibitions both locally and internationally, which have allowed me to expand my reach and engage with diverse audiences.

One of the highlights of this year was being an invited artist at the Talamh Land Art Festival in Ireland, where I had the privilege of showcasing my land art and performance projects in the stunning landscape of the Copper Coast, a UNESCO World Heritage site. I also had the honour of having one of my infrared photographs included in the 126th Annual Exhibition of the Society of Scottish Artists at the Royal Scottish Academy. Additionally, I was featured in the centenary exhibition of Visual Arts Scotland at Dalkeith Palace – truly significant milestones in my career. On a personal note, I am deeply grateful for the vibrant and inspiring community I’ve encountered at Glasgow School of Art. The collaborative energy among students, lecturers, invited artists, and staff has greatly enriched my creative journey, and the resources available there have had a profound impact on my work, enabling me to push the boundaries of my artistic practice. Currently, I am exploring a new project centred around cyanotypes and chemigrams, which allows me to reconnect with the tactile and intimate nature of analog processes. This hands-on approach provides a grounding experience that digital mediums simply cannot replicate, and I’m excited to dive deeper into this medium. Looking ahead, I am in the process of finalising several ongoing projects and am researching potential venues for future solo exhibitions. Although I held two solo exhibitions many years ago, my recent focus has been on group exhibitions and collaborations. Now, I feel ready to present a more comprehensive body of work in a personal setting. I have enough completed pieces for three separate solo exhibitions, and I am eager to find the ideal venue that will resonate with both my artistic vision and the audience.

Find out more about Sandor and his work on Instagram. Our Winter Open Call exhibition features an incredible collection of works by twenty-six artists who have each considered the season and explored the interplay of light and shadow, warmth and cold, presence and absence, through a wide range of mediums and styles. Chiaroscuro runs at Six Foot Gallery until Thursday 9th January 2025.