In addition to paintings, he made sculptures as well; one of his monumental creations stands in front of the building of Médiathèque François Mitterrand in Sète, France.
His paintings were exhibited in several art galleries, inter alia in Zürich, Chicago, New York, Montreal, Paris, Lyon, Nîmes, Madrid, Milan and Geneva.
When he was only nine years old, his teacher was amazed by his exceptional drawing talent, but he could only move at the age of twenty-two to Budapest, in 1947, due to dire financial situation of his family, to commence his studies at Hungarian University of Fine Arts.
In 1953, after graduating from the University, he was granted a significant scholarship; he acquired a studio, and his financial situation allowed him to lead a lifestyle that was hungered after by many of his contemporaries.
His name had an excellent reputation in France, and he received a substantial financial assistance, in the form of an interest-free loan, with the help of the Minister of Culture, thanks to a prize awarded to him.
On an occasion of an exhibition in Paris, television showed some of his artworks and commented them as the powerful expression of the artist's feelings and misery saturated with Hungarian temperament.
For example, his disproportionate anatomic studies made with black drawing ink that look like they were woven from a single string, or the series with pastose colour compositions in acrylic, which were classified as sculptures by Szabó rather than paintings.
Peasant wedding and fairs, tricksters and admirers of natural phenomena, audience gathered for the sermon of John the Baptist or groups envisioning monsters of shuddering legends – all of them are in his pictures like in the compositions of Brueghel, Bosch and their contemporaries.
There are little ones, big ones and bigger ones, in a continuous dimensional shift, people, sometimes among them busts, sculptures, but sometimes only faces, reflectors of feelings and states of mind, are left of the bodies.
In many cases, the figures are on platforms and theatrical spaces proportioned with perspective lines lead to desert and rocky landscapes of backgrounds behind them, like on the artworks of Dalí and Tanguy.