Kelle Antal

2013-07-20 • Artists, Design, Statuary, Wood art Posted in • 0 comments

I worked recently in India, at the Ahmedabad University, as a Charles Eames scholar. I had brought there a design. The twenty-five-meter high “Indian Desire” is a steel tower of six moving parts, to be set up on the shore of an artificial lake. Static and dynamic load tests of the construction are performed at the IIT Delhi Institute, in the Silicon Valley of India. Computers will control the tower; by anyone from anywhere in the world via the Internet, the positions and the colors will be variable. .

We are living inside of boring dogmas, chasing unattainable ideas. I am consciously looking for the opportunities, that are caught up to us, physical or spiritual senses. This is a cube and the symbols of three religions. The symbols are disintegrated in a given space, made up with their complements, separated, an mixed. These will be integrated only in our mind and in different ways, when we are walking around. The composition „Holy Land” was made in this spirit.

For more accuracy, I asked the Great Mufti of Gudjarat, whether what is the right direction of the Moon according to the Koran. At the Cross of the Roman catholics there is no ambiguity, but I did not want to have any problem of the crescent. I arrived at a given time. „His Excellency is sleeping” – his aids offered excuses. I waited there three hours for the response as follows: „Does it matter? The Moon in the sky once decreasing, once increasing…”

His workshop is a medley of the traditional craftsmanship and the modern industrial ambience. At 140-year old inherited carpentry tools there are Engineer Pro design software and laser technology. “I am a tolerated man with my dreams. My family gave me space to experiment. I started with wooden toys. I began to produce meditative toys, based on the humane curiosity. I never cared the struggles among the others.” At the shelf a little box acts as reminder: bird cutter, tiny driller.

At the Nürnberg toy fair I met the world’s greatest authority, the success manager of the Rubik’s cube. He told me with stiff sincerity: “Your interpretation is different. Do not want to produce toys. These will not be successful. Your objects are of art”. It was a painful but, at the same time, a joyful recognition. So I started with sculptures. I am neither manufacturing nor selling objects. I made unique piece only, I destroy the intermediate pieces, what I think being unsuccessful.”

“My YNI (yes-no-inactive) element, stretching to a convex-concave-linear space frame is an abstraction of high priority, suggesting analogies. You can puzzle any regular or irregular bodies, a sphere or a cube, even any shape indefinable by the traditional geometry.”

“Engineer friends are terrified seeing my seven-side cube. Cutting out a piece of the cube, we receive the seven-side one. It is an interesting form, which is less than perfect but it has personality. Do not mind if we lose something if we know that we win something.”

“My Vari-Art series goes in this way: I deliberately mess up simple, trivial forms, so the perfect gets a new meaning. This is a cone. But rather not! Using a little trick, and because of its sectioning it can be transformed to innumerable shapes, even to a spiral form. And it is variable underway. We can give it different roles on the chessboard: king or pawn, friend or foe? After all, we are equals; we became whatever within the limits of our ability. The quality of our relationship is figureable.”

“Just for experimenting, two large cones, similar but somehow different in their soft arches and hard lines were suspended at the Museum of Fine Arts with title of ‘Nexus’. The floating figures were steered from terminals of several museums. The aim and task were to make connections in indirect way. Many did not notice even that they are two, connected. My sculptures are testing you, provoking you to act and to rethinking. After all, interactivity makes us to feel that we are useful…”

15/12/2010 Budaörs