Sculptor, architect, graphic artist. Between 1936 and 1941 he pursued the studies of fine art in school Atelier, Budapest. His professor was Dezső Orbán, member of the first radical group of vanguard in Hungary, "The Octad". But for him, his real master was Hanna Dallos, he visited her art gallery frequently between 1941 and 1944. Besides this he studied wood-carving in a workshop in Budapest. He studied the decisive techniques of stonework as a labour serviceman while renovating the castle in Várpalota.

After the war
After the war, he settled in France in 1946, where his career developed. This internationally appreciated and succesful career's first station was in 1953, when his first monumental abstract statue was unveiled in Paris. Moreover his early stoneworks is France he made fine surreal assemblages - of lost and found objects. But only to destroy them in 1955. In this year he got his firs architectural errand, the rebulid of the curch at Fossé (with Claude Guislain), which was followed by similar orders: the White Friar abbey's church in Valenciennes (again, with Claude Guislain) in 1966, the Renovau Recreation village near Beg Mail, cooperating with several other french architects. During these projects crystallized the concept of the house as an inhabitable sculpture and also the buliding technology of concrete sprayed onto iron framework. His scale of architecture and affinity of cogitation appeared in his monumental scenery-statues, which he fondly composed in outdoor statue parks.

Collective creation
For the connection of the landscape and the plastic work and the mindset for collective creation, he participated in the international sculptural conferences: in Sankt Margareth (Austria) in 1962 and in Villány (Hungary) in 1971. These motivations worked in the opening of the outdoor museum, Kőkert, in 1991 in Pécs (with his friend, Péter Várnagy) or at the creation of the Sekigahara open-air museum.

Flame Carving
The premise of these large scale works was the fact that Székely worked in the granite-mines of Bretagne at the end of the sixties where he developed the techniques of high-temperatre (over 3000 °C-s) "flame carving". He thought his statues as "timeless signs" - like the early granite-compositions selected for the Kőkert in Pécs - with this surface-treatment technology, his statues really look like they were the products of nature's long work.

He recieved french citizenship in 1972, founded the European Granite-technology Institute in 1977 and in 1978, he became Doctorate Honoris Causa of the Royal Academy of Fine Art in Hague. In the same year, he won the blue ribbon for the "The art of the streets" International Biennial in Paris, where it demonstrated that his statues where more than acceptable too in the "city scenery", not only in the nature.

From the eighties he spent more and more time in Japan, where the Far Eastern philosophy and the ancient japanese culture - also manifesting in iconography - and the opportunities of industrial technologies of the XXI. century affected his work. In this way consummated Székely Peter Suchard's pertinent forecast, becoming "every time and scenery's" sculptor.

But at the end of his life, he wasn't satisfied with all these: he became all religions' and cultures' sage, of which his books in the early nineties (released in Hungary) vouch. His explanations for the world, the art and himself were the same as his statues: found stone, found shapes, colorful shells fixed together, a system developed with teotretic consistence. The coincidence taken as a life-philosophy had as musc role in it as the statues did.