György Jovánovics (1939, Budapest) is one of the leading figures of Hungary's art scene since the mid-1960s.
Following his studies of Sculpture at the academy of Fine Arts in Budapest he became member of the Iparterv group, named after the building of the Iparterv State Architectural Office where the art historian Péter Sinkovits organised two exhibitions. The participanting artists made up the group - Imre Bak, Krisztián Frey, Tamás Hencze, György Jovánovics, Ilona Keserü, Gyula Konkoly, László Lakner, Sándor Molnár, István Nádler, Ludmil Siskov and Endre Tót in the first exhibition, and additionaly András Baranyay, János Major, László Méhes and Tamás Szentjóby in the second.
After receiving the DAAD Scholarship in 1980, he went to West-Berlin. In 1983 he returned to Hungary.
His work combines architecture, painting and photography, with the theoretical foundation rooted in sculpture. Jovánovics primarily uses plaster to create reliefs and assemblages. In these works, he can implement his theory of light - the subtle depth of the layers and the viewing position create a permanent illusion based on how the light is being reflected off the surface. During his stay in Germany, these plaster works become more conceptual, often with the addition of materials such as wood or plastic pieces. He as well creates in photography (conceptual photo series light montage Holo Graphos). Liza Wiathruck, a life-size plaster of a female figure, is the protagonist in the series (1976 – 1977) in which he explored his intellectual position towards questions of perception and the gaze. The Liza sculpture is photographed in the environment, and the statue's image is reflected on the windows and other surfaces, exploring the problem of imaging, vision and sight, the relationship between reality and illusion.