He was born in 1944, in Budapest. Great-grandson of the fin artist Károly Telepy.Grandson of the aquarell painter Antal Neogrády and son of the artist and scenery-designer Miklos Neogrady. He gets a diploma as an interior decorator in 1973 at the College of Industrial Art in Budapest. Between 1973-78 he's works as stage designer for MAFILM. In 1978 he's the chief stage designer of the Petőfi theatre in Veszprém, and also works for Katona József theatre in Kecskemét. Since 1995, he teaches Stage and Scenery Technics at the University of Industrial Art in Budapestat.

Self contained exhibitions:
1965 United Officers's School
1967 Club Eötvös, Budapest
1983 Vörösmarty theatre, Székesfehérvár
1989 National library, Toronto
1990 Hof, Germany
1992 Thermal Hotel Aquincum
1994 Thermal Hotel Aquincum
1995 Hotel Atrium Hyatt, Budapest
1996 Book's house, Budapest
1997 Community centre of Ráckeve, Hungary
1999 Szentendre
2004 Csók István gallery, Budapest

"Rails show the way of the wheels, without turning off. Because in case it turns off, catastrophic things can happen, am I right? Well, as a callow youth kid if I drew a line, and mom and grandma came, they were there and back from happiness. "Oh, how sweet genius is this kid!" The line drawn by me was the same as lines drawn by all kids in my age, but they fondled me, and I got the paints in big bags. And then as I started to grow up and I had to choose a career, my father said: "Sonny! If you were told that you need a degree in order to get into the television, than you will have a degree in the School of Applied Arts to become a stage-designer." There was no appeal to my father's instruction, and as a dutiful kid I finished the College. My career was pointed out, and later I had to take off the mask to be what I wanted to be. Where do I come from? Who I am? The biography of a man is a fact, I never used it as an advertisement. To those who were eager to know my family roots, I gave the family autobiography. I am proud of my ancestors, but I try to live my own life.

My teacher in the College, Péter Szilágyi aesthete said, according to which: "The art is which gives a view of life." The non-figurative art gives a view of life until it works against something, but if it has to be explained, like 2x2 to stupid kid, than the party ends. My basic conception is that the annoying of the citizens has to be carried out in such a way that nobody realizes that this happened. For me to carry out an annoyment of the citizens I need the pro¬fessional exactement. Maybe a good example for this is my composition called Globe I.

When I attended College the basic conception operated already, according to which everybody interpret the exercises through his own individualism, and present them how he likes. Freedom is total. I lard this freedom with act of violance on some of my lessons. I try to give my students the claim to exactement. I claim from my undergraduates the perfect knowledge about paper, canvas and professional tools. I told my child that until he is unable to draw a perfect eye with lacrimal sac, with pupil, with eyelashes and with the curve of the lashes, don't do that the eye is a scribble, because it won't be true. How the great people can draw, like Endre Szász, Béla Kondor. I told the kids in the school: "Kids! It is obligatory that the theme has to jump off, come off from the drawing paper!"

We got a strong architect training in College, we were little bit like the shelf of the Technological University. If I see a built environ¬ment, I know its anatomy. I am not a professional architect, but I get the hang of it. I liked all the parts of architecture, I did not hate my studies this field. My teachers said, as well that they accepted me to the University as an amateur, and I left them as a pro. I really became an architect.

I made a great deal in the field of films and theatres, when I receive an award there, I am happy. Although 5-10% of my scenery was really good, nobody told me: "Look little buddy, we tack a medal onto the lapel of your jacket, cause you are great!" Inspite of this I was and I am happy. I worked in the theatre of Kecskemét and Veszprém. I do not know what to do for getting a Kossuth award, anyway what would my family say, if I have painted for award for twelve years, but I could¬n't Bell my pictures and I didn't get the award? But what is really important is to leave something enduring value here after your death."