"...The word "construction" for the creation of the works is accurate in many ways. The vision of the initial drawing is very similar to the architects' first sketches defining space and form, not to mention the more precise network of lines defining the layers of the work. However, in György Gáspár's method, intuition has at least as much emphasis on the development of works as planning. The work is constantly evolving, layer by layer, depending on what the deeper-seated design demands. The challenge is how to reduce the pattern from the dense line networks until it reaches a state of equilibrium that speaks of both staticity and potential for misalignment. The layered technique differs from the plane composition procedures of the fine arts, but also from the spatial formation of sculpture, because here the creation of each layer is a slow work process, and the effect of the composition, the final result, only comes together when the superimposed designs are added together and can be viewed. The possibility of intervention, of changing the process, is a symbolic and essential element of the work...."

"...György Gáspár therefore thinks about stories on several levels. The starting point is a story, but the work itself is also a story, in that although the viewer does not necessarily see it, it develops even during the steps of drawing on the glass. Narrative geometry, he uses this word for his works precisely for this reason, which he also refers to with the titles of the works, which lead the viewer to the depth of the already mentioned sensations. Or even if they only talk about it indirectly, they definitely reveal that the source of the work is not mathematical or geometric, but rather something whose basic experience is an experienced reality, or to put it concretely: life itself...."

Zsolt Petrányi art historian