"Who Carries Love"

From the very beginning, Hedvig Dvorszky was not only a close witness, but also a shaper through his work as an art historian and his personal exhibition, and of course he is still an active part of the life of the Hungarian Academy of Arts. In addition to his approach to encouraging higher forms of public thinking and action and the need for a dignified appreciation of the creative power of art, he has convincingly demonstrated his philosophy of art in his academic headquarters: presenting the values of art that interprets and recreates life Unquenchable curiosity? Passionate professionalism? Continuous and credible documentation of the imprints of the artists, works, workshops and events of our intellectual life? A kind of constant inner urge to capture? To be present, to overcome fatigue, to be a part of everything that happens in our world and in the inner world of our creators - I think this sense of duty is the engine that fills Hedwig Dvorszky again and again with faith and energy and encourages new commitments. The desire to immortalize not only the artist who creates the object, but also the historian. He forces him to make a continuous, yet qualitative statement in his programs in the studio of the Hungarian Catholic Radio for almost two decades, as well as as the author of articles published in the journal of Hungarian Applied Arts and in other professional journals and organs. Hedvig Dvorszky is a real social being. Educated, informed, open, cheerful man. The sometimes unexpectedly flaming tempers, the sudden and immediate extinction of anger, also prove the impatience of the creative man: time is running out! The Hungarian creative force has accumulated enormous intellectual wealth - poetry, melody, architecture, sculpture, textiles or stage drama - and all this is waiting to be captured, presented and received. And besides, the many values of contemporary art branches, the undiscovered secrets of valuable artists! The midwifery around the works that are being born today, the desire to be present and to participate, forces the chronicler into an eternal hurry, "the chronicle of the eras," as the young author called him in an interview with him. The chronicler, who does not look from the outside and does not judge from above, but wants to touch and draw the spiritual dimension of existence and the work of art from the inside, the real motives. I believe that as a chronicler, a critic, a professional historian, he himself encourages his "subjects" to create and create new and new works.