Fekete sees himself in the first place as a painter. Hardly a day passes by where not a single inspiration arises to be painted. His profound knowledge of the great painters of past centuries, painters he studied unremittingly in the museums of the world, has formed his world of pictures as well as his love of music and literature.
Through all his paintings we meet a representational world, though showing us human beings, animals and their surroundings, but all transformed to the timelessness of imagination and fantasy. By means of a conditional presentation of the reality he tracks down the universally validity of the life of today and shows by his paintings how even today and despite of all progresses made it happens again according to the ever lasting laws of nature.
Every single part or piece of the daily routine may be a motive to be brought stylized into an imaginary, fantastic new connection. A house-door, a dog, a block of houses, a tea pot, a picture puzzle in the morass of a wood, or remainders of paint slipped off might have been the inspiration to form and paint, and seemingly unmotivated, set to a quiet couple at the window, an interior, a dead bird on the table – these reminiscences will result in a new connection. Very well readable but not yet clearly determinable in the wonderful glowing web of colours, fantasy has a broad scope when viewing. You would notice less the actual, vague scenes or naturally painted things but the fictitious, synthetic pieces of dreams and intuition created in the seclusion of his home.
Wide horizons are searched for in vain, at best from behind leafless trees a glowing gold is luring, making you think of distances. Behind the alienated elements of the picture being put together to a composition full of the magic of colour there are symbolic hints of futility, vanity, and transitoriness: the crouching woman at the window arranged like a block might be a mourning one, the ship in the quiet bay might not have gone ashore but have run aground, the little red house on the edge of the meadow might be burnt-out, and behind the mirror image as exquisitely in colour as t might be death is laying in wait.
The paintings of Fekete want to be read, again and again.
Keen on experiments as Fekete has always been there is no material he did not use for his paintings. Apart from the oil paintings on canvas, wood, or hardboard there are other techniques he used. However, they do not differ very much in what they tell but as to their effect.
In the gallery “Malerei”(Painting) some examples are presented of his varied motives and techniques.