Dr.Zumbok Ferenc a Budai Várnegyed megújításáért felelős kormánybiztos nap, mint nap elsétált egy kietlen park mellett. Hiába szépen ápolt a gyep, közeledik a tél, a huszárok fala is ködbe vész, a várfal mögött korán alámerülnek Buda hegyei. Eszébe jutott gyerekkora és az ólomkatona meséje, amit egy régvolt Karácsony estén talált a plafonig érő illatos fa alatt. És megszületett benne a gondolat: egy varázslatos adventi fenyőerdő. 24 fa feldíszítésére versenyzett 23 csapat.

A 7.számu fenyőfát kapta a Kiskép Galéria

 

A Vári gyerekek lelkes csapatával aggatjuk a kerámia figurákat.

A 24. a közös fa. Ott volt minden csapat. A jutalom: a résztvevők szenzációs műsora és ünnepség a Magyarság Házában.

Három győztest hirdettek. A “legvidámabb csapat” kitüntető címet mi kaptuk. A nyereményünk: sok könyv.

2012.december 20.

 

 

Angels in the castle

Helping by Kata, all people of the Castle were mustered for this event. She purchased a large pile of straw strings; these serve the base of the traditional Advent wreaths. She mobilised the children and their moms, so everybody brought what he/she can: cones, ivy sprigs, leaves, evergreens, raffia, strings, buttons, ribbons, wire… Even the rain could not inhibit them from working hard.

The boys

Ladies and lassies

The rainy last minutes

We are wandering among the glass-laden boxes. Running overhead, pipes in the dim light. The huge hall is divided by rows of lehrs. Not long ago they served five kilns, and fifteen hundred people bustled around, as ants: transporters, glass blowers, mold makers, and mold workers. There are many, many hands managing the glass products until packaging. Today there are less than three hundred workers, and only one kiln is working. The factory reduced to a manufactorer not only due to technical improvements, but the market changed as well.

I might join to the semester-end field trip of the glass-major students of the High School of Arts and Crafts, Budapest. We are to meet the globally special, variegated technology and, behind it, the experts having special knowledge. When they leave, this knowledge dies away.

In 1878, Saxon and Bavarian glass masters initiated the glass production here in Ajka, a small mining town at the foot of the Bakony Mountains. At the time of the founder, Bernát Neumann and of the new owner, János Kossuch, the plant produced glass containers (bottles, jars) and lampshades. Later, thin-walled potash-glass decorative objects were decorated with gold and engraving. These rare specimens are in museums nowadays.

After the WWII and the nationalization they produced tableware in industrial amount.

From the sixties on, lead crystal production started, which is great for cutting and engraving. Coloring experiments were successful, and the “überfang” technology was initiated. A very thin layer of color glass, applied to the clear lead-crystal base is sandblasted or engraved, is producing a noble pattern.

The cameo process needs the most amount of handwork. Multiple layers of different color cover the base, and sand blowing shapes the pattern and the background. These items, numbered, are produced in small series only. Even the gilding has not gone out of style. These are made almost exclusively for order.

 

The inimitable splendor of lead crystal is achieved by heating or acid dipping. They dipped these objects to the warm bath of sulfuric acid by hand before, now the glass is bathed and then washed in huge vats. Leaving the vat in rubber baskets, the glass is tested with compressed air, and then packed.

Entering the last door to the youngest workshop, we can learn the difference between the ‘pâte-de-verre’ and the casting method. In the former case glass frits or crushed glass are melted together, in the latter one blocks of glass are melted to a mould. There is no other exact and safe way to produce a flailing horse of thin legs or a hundred-pound statue. For these goals pressing is unsuitable.

After this interesting day of even industrial history and culture, you can surely ask some question. Why were our domestic glassworks closed down? Is it a global trend only, or is it about something else? What is the future: lease working or to build an own brand? How to motivate the young ones to give their lives for one of the beautiful handmade arts and crafts?

Thanks to Ms. Zsuzsa Csala,

glass designer artist of the Ajka Glass Ltd for her hospitality and for the rich information, as well as

Profs. Kriszta Kecskés and Kristóf Bihari,

teachers of the glass major class, High School of Arts and Crafts for the opportunity.

Antigravity is what this exhibition is called where two ways of thinking meet in the most recent works of two glass artists, Bernadett Hegyvári and James Carcass. The works of the former is marked by geometric attitude, while the pieces of her husband are decidedly organic.

Open: 9-31.10.2019

In co-operation with the CAFé Budapest Contemporary Art Festival.

Bernadett HEGYVÁRI (1975) has finished her studies at the University of Craft and Design in Budapest in 1999. After spending 8 years in England she moved back to Hungary and started her hot glass studios with her husband in Tápiószecső. She participates continuously in international and national exhibitions.

In this exhibition she continues the „fragile everyday” series what she has extended the questions further to include what we see and how we see it.

“Although I work with glass, which is normally considered as a material of the applied arts, I create sculptures. Sculptures that are a cross between painting and three dimensional works, therefore putting them into a category is very difficult which is one of my aims. Not being one or the other creates a gentle tension which makes me curious. The game of up and down enhances the uncertainty and allows the viewer to understand the “picture” through the two versions.”

“I am inspired by the sharp light and the uncertain positioning of the elements on the 17th century dutch still life paintings. I like that certain elements are hardly seen whlist others are right ( literally) on the edge. I like this game of hide and seek. It questions the way we see things, the way we create meaning adn what we need to create meaning form what we see.. Light in these paintings is essential as it is for glass and so it is for me.”

James CARCASS (1965) finished his studies at the University of Sunderland Ceramics and glass in 1991. Works in his own hot glass and wood studios in Tápiószecső, Hungary. His works are present in galleries in Hungary and exhibitis and sells his glass and wood sculptures internationally.

These small sculptures of the Wabisabi series take the form of eternal symbols which capture the passage of time and the movement of the universe.

 

 

 

 

 

A Szakrális Művészetek Hete alkalmából szeptember 14-22. között a kis kápolnák meghitt hangulata és két különleges triptichon várta a kedves látogatókat a Mária-Magdaléna toronytól egy ugrásra. Morelli Edit Ferenczky Noémi-díjas festőművész, a Kecskeméti Nemzetközi Zománcművészeti Alkotótelep egyik alapítója három részből álló művének középpontjában Mária látható a kis Jézussal. Incze Mózes festőművész alkotásán pedig a várandós Mária szerepel. Két művész generáció, két nemes műfaj kiváló képviselője különleges körülmények között mutatja be a Szűzanyát. Mindkét alkotás olyan harmóniát és erőt sugároz, amire mindig vágyunk.

 

ART MARKET BUDAPEST, the international art fair established in 2011 presents a unique artistic composition in perhaps the most exciting exhibition halls and in one of the culturally most attractive cities in Europe, that, while it features some of the exhibitors welcomed even by the oldest art fairs, gives an emphasized presence to a younger generation of galleries and artists including the now emerging stars of the future.  ART MARKET BUDAPEST defines a new cultural region: YOUNG EUROPE, where new artistic inspirations and a truly CONTEMPORARY approach to visual arts are in the focus.

Millenáris “B” épület booth no. G702 – Kiskép Galéria together with Barabás Collection,  12th through 15th October 2017

Zalavári József

 

ifj.Szlávics László

 

 

 

 

„Yes, shoes can have erotic content.“ -twisting the spiral-curled leather lace with mysterous smiles. Do not ask more, the gesture indicates enough. Many reported opinions on the emotional connection between a shoe and its wearer.Elements of arts and sculptures can tell us more about this subject.                                                                                             .

„I graduated at the Academy of Craft and Design in 1987. My diploma works of baroque-rococo style caused no little consternation, for the trendy style was the post-modern one that time. I was fascinated that the masters of the baroque-rococo era had so brillantly applied tecnical novelties.“ Her plans for lifelong career lasted no long time. Export-oriented domestic shoe producing companies, high-esteemed that time, were swept out by the economic changes.

For me, designing a shoe means maximal pleasure, happiness, freedom, and discovery. I put a piece of marabu flock inside the shoe, imaging how it would tickle me when getting into…

There is a leather museum (Schuhe und Ledermuseum) in Offenbach, Germany. I was allowed to present my Curly Series there in 2002. This camara exhibition had a great effect, news spreaded on my shoe-sculptures. Thanks to dr. Rosita Nenno, the curator of the Museum, invitation arrived from Bremen, Mainz, Herne, and (in 2006) the German Shoe Design Award for first place in Pirmasens.

I made 107 shoes so far, 40 of them were displayed all around the world. The model „Little virgin“ was a front-page piece in Barcelona. I am not able to sell this and the „Dragon“. I will not sell these even for collectors.

The outside colour set is always a conscious choice, but the interior is random and accidental. It is a great fun. Every detail of a shoe is exciting. Even the sole is a buzz, maybe a puzzle. A little piece of rubber inserted in it — why not? The walk would be safer. When the skin slicks below our foot, we really feel: this shoe is poured on us.

Who is on my mind? I think to female idols, strong characters, challengers, as Iris Apfel, Peggy Guggenheim, Diana Vreeland, or Irén Psota. I never dared to approach the actress, even if the models in my diploma work were inspired by her personality.

I use mostly fine goat skin, glazed kid, and soft calf leather. These shoe sculptures are not for wearing, these are for developing the formal models of the design. I have one last only, for the size of myself. If even taking into account the special heels, to produce a whole marketable series of boot-crimps you must invest serious money. And there is no word on the handwork demand of the uppers, for which I myself have no much patience.

With some gaps, I design my shoes twenty years. I became steady. My playful, rebellious era is outgrown. I understood today that the less is more. I make sketches on slips of paper, and only then I work the details out by the computer. After years of experience, I do know you need a well-positioned red stripe only. Or, why not the left and right shoes can be asymmetrical? Perhaps the pair can make a picture?

For myself, I hunt the good quality materials on sale. Finding a good piece, I buy more colours. I cannot resist to a nubuck leather of velvety touch. I have perhaps a thirty pairs of shoes… Well, you are right, perhaps more…”

13/9/2011 Budapest

http://members.chello.hu/attalai.zita/

Kiskép Gallery (offering contemporary glass) in cooperation with Fény Gallery (offering Gorka ceramics) will held a commen auction on September 28 Monday at 5 p.m. at Tér-Kép Gallery: 1016 Budapest Krisztina krt. 83-85. Please find here the glass pieces (Enlarge with click on the picture) with information on the artists or axioart.com

49.) LÁSZLÓ LUKÁCSI: Mountain Lake (1996) cut, glued, polished glass 50x50x15cm with stand 47 cm high Published: Lukácsi László (ISBN 978-963-08-4677-6) Provenance: Portia Gallery (Chicago) 1996, purchased by an american private glass art collector, lately  arrived back to a Hungarian private glass art collection presumably bidden from a heritage

Lukácsi László (1961) Hungarian University of Arts and Design (MOME) MA in glass faculty (1985) Appreciations: Kim Harty’s Award, Detroit – USA (2016) Taos Institut of Glass Art, I. díj, New Mexico – USA (2014) Coburg Glass Prize, Audience Prize – Germany (2014) Coburg Glass Prize, Main Prize – Germany (2014) International Exhibition of Glass Kanazawa, Gold Prize / Japan (2010) 37th Habatat Hallery Exhibition Award / USA (2009) Ferenczy Noémi-Prize (2002) International Exhibition of Glass, Kanazawa, Kyohei Fujita-Award– Japan (1992) Jugend Gestaltet Prize – Munich, Germany (1990) Participant at more then 200 solo and joint exhibitions, here some international presence: Laguna Beach, Royal Oak, Chicago, Sarasota, New York, Houston, Greenwich Harbor, Palm Springs, New Jersey, Tucson-Arizona (USA) Köln, Berlin, Frauenau, Hamburg, Frankfurt (Germany) Hága, Horn, Lekdijk, Rotterdam (Hollandia) Brüsszel (Belgien) Shanghai (China) London, Bath, Birmingham (UK) Bornholm (Danmark) Romont, Horgen (Switzerland) Notojima, Kanazawa (Japan) Madrid, Barcelona (Spain) Nicosia (Cyprus) Tulln, Bécs, Pörtschach (Austria) Párizs, Antibes (France) Luxemburg

50.) MÁRIA LUGOSSY: Purgatory 2  (2011) cut, glued, sand blasting 18x15x8 cm

Lugossy Mária (1950-2012) Hungarian University of Arts and Design (MOME) goldsmith (1973) Appreciations: Munkácsy-Prize (1983) II. Coburger Glaspreis (1985) Le Verre au Féminin en Europe 1st Prize, Brüsszel (1986) Kleinplastik Triennale, Bürgerpreis, Fellbach (1986) Glass ’90 in Japan -Tokio (1990) The Suntory Prize Grand Prix, Tokio (1990 és 1996) BIVA I. International Biennal, Grand Prix, Biot (1990) • Chateau Beychevelle, Grand Prix (France 1992) • XXIII. FIDEM, Grand Prix, British Museum, London (1992) Gold Award, American Interfaith Institute, Philadelphia (1993) • Carpe Diem Galerie, Audiance Prize, Paris (1994) Prize of Distinction, Seixal Portugalia (1999)

23.) GYÖRGY GÁSPÁR: White Fission (2015)  Exhibited at different Fairs ind England.  Published: Gáspár György –Window to the inner space – Statues (ISBN 9786150021782)

Gáspár György ( 1976) Hungarian University of Arts and Design (MOME) MA in glass faculty (2003) Appreciations: Ferenczy Noémi-Prize (2009) Solo exhibitions abroad: Berlin (2009, 2012) Paris (2013) Pietrasanta (2016) Group exhibitions: London, Bornhom,Seattle, (2012) Paris, London Strasbourg (2013) Paris, Dubai, Vienna, Houston, Laguna Beach (2014) Palm Spring, Ednburgh, Chicago (2015) Bruxelles, Madrid, London (2016) Los Angeles, Vienna (2018) Miami, Vienna, Bratislava,  Paris (2019) Karlsruhe, Bruxelles (2020)

 

 

1.) ELEONÓRABALOGH: Building block (2019) Fused, polished glass 15×14,5×4,5 cm (left)

2.)ELEONÓRA BALOGH: Building block  (2019) Fused, polished glass  7,5×7,5×5 cm (right)

Balogh Eleonóra (1960) Hungarian University of Arts and Design (MOME) MA in glass faculty (1989) Appreciations: Ferenczy Noemi Prize (2006) Europa Nostra Group Award (2004) Some examples of architectural glass works: Grecham Palace-Four Seasons Hotel, New York Palace-Boscolo Hotel Klotid Palace, MÜPA-Palace of Arts, Chamber of Budapest Advocatory (Budapest) Funeral home (Dabas) Chapel of Elderly Hostel (Zselickislak) Tópart Residential Community (Biatorbágy) Hotel President, SAS Radisson (Kiev) Anatara Palace (Ciprus)

3.) RITA BÁNÓ: Sword-fish (2018) kiln cast, grinded, acid-etched glass 30x5x8 cm

Bánó Rita (1984) Moholy-Nagy University of Arts and Craft (MOME) degree in glass design  (2014) Appreciations: Among the winner of „Me, Vasarely” competition (2016)  Stanislav Libenský Award, selected and exhibited work (2015) International presence: Paris (France) Bruxelles (Belgium) Stuttgart (Germany) Prague, Karlovy Vary (Czech Republic)

 

 

4.) KRISTÓF BIHARI: Sacris (2019) fused, polished glass 75x380x455mm

Bihari Kristóf (1974) Hungarian University of Arts and Design (MOME) degree in glass design (1999) Appreciations: Awarded by Gosztonyi Mária Foundation (1999)National Cultural Fund, individual creative scholarship (2018-19) International presence: Lviv (Ukrain) Frauenau (Germany)

 

5.) GYÖRGY BUCKÓ: Homage S.E. (Schaár Erzsébet) (2000) hotformed glass 34,5x18x9,5 cm

Buczkó György (1950) Hungarian University of Applied Arts (MOME) degree in silicate design (1974) Appreciations: Munkácsy-Prize (1987) Asahi Shimbun Prize; Glass Now Exhibition ’91, Hokkaido Museum of Modern Art, Sapporo (1991) International presence:Essen, München, Hamburg, Frauenau, Coburg, Utrecht, Düsselsorf (Germany) Vienna (Austria) New York, Virgina Beach (USA) Bruxelles (Belgium) Prague (Czech Republic) Paris, Avignon, Dijon, Liege (France) Istanbul (Turkey) Riihimaki (Finland) Hague, Schaek, Brugge (Holland) Tokio, Sapporo (Japan) Madrid (Spain)

 

6.) ISTVÁN CZEBE:Queen (2003) hotformed glass106x25x25 cm Provenance from Vajna collection, analogue “ÜvegTérKép exhibition and publication (2003) The pair of this  wirth the title “Almost a Man”

Czebe István (1967) Hungarian University of Applied Arts (MOME) (1996) Appreciations: Ferenczy Noémi-Prize (2003)

 

 

 

 

 

7.) JAMES CARCASS: FutureFace – Etsi (2020) ceramics, glass 20x20x20 cm

8.) JAMES CARCASS : FutureFace – Probe (2020) ceramics, glass 20x20x20

James Carcass (1965) Sunderland Polytechnic Glass and Ceramics BA Honours (1991) Moholy-Nagy University of Arts and Craft (MOME) MA Diploma (2020) International presence:Lincoln, London, Deal (England) (USA) (Scottland) Barcelona (Spain)

 

9.) ZSUZSA CSALA: Vase (Made in Ajka Cristal 2014) blown, cristal glass  H: 32 cm diameter: 16 cm

Csala Zsuzsa (1972) Hungarian University of Applied Arts (MOME) degree in silicate design (1997) Appreciations:Industrial Design Award (2002) Hungarian Product Grand Prix (2009) International presence: Frankfurt (Germany) Jablonec (Czech Republic)

 

 

 

10.) ANITA DARABOS: Crossing (2020) Cut, glued, abreded, Glass, Wood 129x24x28,5

11.) ANITA DARABOS: Knot (2020) Cut, glued, abreded, Glass, Wood

12.) ANITA DARABOS: Rest (2020) Cut, glued, abreded, Glass, Wood 84x12x8cm

Darabos Anita (1969) Hungarian University of Applied Arts (MOME) MA degree in silicate studies (1996) Breuer Marcell Doctoral School, Summa cum laude 2016 Appreciations:  Kaesz Gyula Prize,  5 times Gundel-Figyelő Top 200 – Prize

13.) ZSUZSANNA DEÁK: Black choral vessel (2020) fused glass  38x22x30 cm

14.) ZSUZSANNA DEÁK: White choral vessel (2020) fused glass 36x36x22 cm

15.) ZSUZSANNA DEÁK: Clear vessel (2020) fused glass 40x37x23 cm

Deák Zsuzsanna (1976) University of Szeged (SZTE), Architectural Flatglass Faculty (2019) Appreciations: Sófi scholarship, Gold degree (2019) New National Excellence Program Felllowship – support a researcher program (2018/19) International presence: Frauenau (Germany)

16.) LÍVIA DOMBI:  Idea on a Thread Knot (2020) polished cast glass, glued, concrete, iron

Dombi Lívia (1947) Hungarian University of Applied Arts (MOME), degree in glass design (1972) Assignments: Architectural glass, lighting fixtures for public buildings, hotels, casinos, residencies, private houses International presence : Bad Homburg, Regensburg (Germany)

 

 

17.) ZSUZSA FORMANEK: Bio-energy Low Concrete with optical glass 39,5×24,5×12 cm

18.) ZSUZSA FORMANEK: Bio-energy High Concrete with optical glass  59x20x12 cm

19.) ZSUZSA FORMANEK: Vessel on foot – fused glass 14,5x45x45 cm

Formanek Zsuzsa –  Hungarian University of Arts and Design (MOME) degree in ceramics (1984) International presence: Sao Paolo, Faenza (Brazil) Buenos Aires (Argentina) Frauenau (Germany)

Creative partner: KRISTÓF BEDÉCS  goldsmith

20.) JUDIT FŰRI: Spring 1 (2020) fused glass, metal 35×35 cm

21.) JUDIT FŰRI: Spring 2 (2020) fused glass, metal 35×35 cm

Fűri Judit (1966) Hungarian University of Applied Arts (MOME) (1989) Appreciations: Europa Nostra Top Prize, Segesvár – Romanian (2004) Exhibtions: Between1988 – 2019 more than fifty exhibitions throughout Europe

22.) ENDRE GAÁL: Golden Age 7. (2017) Glass mixed technique

Gaál Endre (1957)Hungarian University of Applied Arts (MOME), degree in silicate design (1985) Appreciations: Ferenczy Noémi-Prize MAOE-Prize (1995) Prize of the 2nd Sculptural Biennal (2012) International presence: Kassel, Frauenau (Germany) Brecia (Italy)

 

24.) GÁSPÁR GYÖRGY: Baby Alien (2011) Casted,polished, glued fusing glass 12x17x8 cm

Gáspár György ( 1976) Hungarian University of Arts and Design (MOME) MA in glass faculty (2003) Appreciations: Ferenczy Noémi-Prize (2009) Solo exhibitions abroad: Berlin (2009, 2012) Paris (2013) Pietrasanta (2016) Group exhibitions: London, Bornhom,Seattle, (2012) Paris, London Strasbourg (2013) Paris, Dubai, Vienna, Houston, Laguna Beach (2014) Palm Spring, Ednburgh, Chicago (2015) Bruxelles, Madrid, London (2016) Los Angeles, Vienna (2018) Miami, Vienna, Bratislava,  Paris (2019) Karlsruhe, Bruxelles (2020)

25.) GÁBOR GONZÁLES: Sign going into Infinity –  melted glass, surface polished, bent to metal form  5x23x46

26.) GÁBOR GONZÁLES: Deepening Deep  – melted glass, surface polished, bent to metal form 5x23x47

Gonzáles Gábor (1950) Appreciations: Ferenczy Noémi-Prize (2001) International presence: Utrecht, Hague (Holland) Kanazawa, Jamaha (Japan) Frauenau (Germany) Hanhgzhau, Peking, Sanghaj (China)

27.) GRÜNFELDER JUDIT: It was and it will be (2020) casted glass 68x45x30 cm

28.) GRÜNFELDER JUDIT: vessel  – cristal glass, sand blasting H10 cm D35,5 cm

Grünfelder Judit – Hungarian University of Applied Arts (MOME) degree in glass design (2004)

Appreciations: National Cultural Fund, creative scholarship (2016, 2018, 2020) Ajka Kristály Üvegipari Kft. Product design award (2006) International presence: Frauenau, Lette (Germany) Szófia (Bulgaria) Moszkva (Russia) Prague (Czech Republic) Bornholm (Danmark) Bruxelles (Belgium) Frankfurt (Germany) Saint-Étienne (France)

 

29.) HEGYVÁRI BERNADETT: Grey Still life (2019) blown glass, acrylic painting 38x38x21 cm

Hegyvári Bernadett (1975) Hungarian University of Applied Arts (MOME) degree in silicate design (1999) Appreciations: The 10th. Biennale of Contemporary Christian Iconography, Grand Price, NKA Scholarship (2020) Nomination for the Worshipful Company of Glass Sellers Prize, London (2005) Worshipful Company of Glass Sellers Student Prize, London (2002) International presence: London, Stourbridge (England) New London (USA) (Belgium/Netherlands) Hangzhou, Peking, Hszian, Csungking (China) Lette, Frauenau (Germany)

 

 

 

30.) HABA ERIKA: Haiku (2020) fused glass  30x32x1,5 cm

Haba Erika (1970) Hungarian University of Applied Arts (MOME) (1995)

 

 

 

 

 

31.) HOMOKI ANIKÓ: Zöld szerelem (készült 2018) üveg, fusing technika 18x21x15 cm

Homoki Anikó (1958) Szimultán School of Fine and Applied Arts, silicate cource(2002) International presence : Wolverhampton (United Kingdom) Komarno (Slovakia)

 

 

32.) JEGENYÉS JUSZTINA: Mennybemenetel – üveg, casting technika 9x28x9 cm

Jegenyés Jusztina (1977) Moholy-Nagy University of Arts and Craft (MOME), MA degree in silicate design (2009) Appreciations: International Craft Competition, Cheongju, Korea – Honorable Mention (2009) International presence:Novy Bor (Czech Republic) Moskow (Russia) Paris (France) Rome (Italy) Frauenau (Germany)

 

 

 

 

33.) KECSKÉS KRISZTINA: A jelen jövője (készült 2020) formába olvasztott, hajlított üveg 60 x 20 x 40cm

Kecskés Krisztina (1971) Hungarian University of Applied Arts (MOME) BA degree in glass design  (1993) Hungarian University of Applied Arts (MOME) MA degree in glass design (1996) Appreciations: Ferenczy Noemi Prize (2010) Ferenczy Noemi Prize: Murano (Olaszország) Helsinki (Finnország) Prága (Csehország) Berlin (Németország)

 

 

34.) Koleszár Stella: Égbekiáltók I-II-III (készült 2018) üveg pate de verre, casting technika 16x6x12 cm

Koleszár Stella (1992) Moholy-Nagy University of Arts and Craft (MOME), degree in glass design (2019) International presence : Wroclaw (Poland) Oradea (Romania)

 

35.) KOHUT-GÖRÖMBEI LUCA: Wonderview nyaklánc (készült 2020) Olvasztott, csiszolt üveg ezüsttel

36.) KOHUT-GÖRÖMBEI LUCA: Wonderview (készült 2020) Olvasztott, csiszolt üveg

Kohut-Görömbei Luca (1985) Moholy-Nagy University of Arts and Craft (MOME), diploma of excellent in silicate design (2008) Dortoral School (2013) Appreciations: Hungarian Design Award, student category (2009) Diploma: Presidential Special Award (2008) International presence:  Laguna Beach (USA) (England) Vienna (Austria) Strassburg (France) Bruxelles (Belgium)

37.) KÖBLITZ BIRGIT: Csipkés út (készült 2018) casting, hajlított pate de verre 20 x 58 x10 cm

38.) KÖBLITZ BIRGIT: Korall nagy üveg pate de verre 14×11 cm

39.) KÖBLITZ BIRGIT: Korall kicsi kék, fehér üveg pate de verre 14x7cm

40.) KÖBLITZ BIRGIT: Fosszília casting 42×14,5x14cm

41.) KÖBLITZ BIRGIT: Tál fusing üveg 37×4 cm

Köblitz Birgit (1960) Halle-Burg Giebichenstein College of Fine and Applied Arts, Degree in glass design (1985) Appreciations: Ferenczy Noémi-díj (2005) International presence: Neiu, Vennep, Riel (Holland) (Luxemburg) Kanazawa (Japan) Frauenau, Münster, Hannoer, Leipzig (Germany) Vienna (Austria) London (England) Madrid (Spain) Padova (Italy) Hangzhou, Peking, Sanghai (China) Some examples of architectural glass works: Gül Baba Türbe, Church of St.Angels, Hungarian Ministry of Foreign Affaris, Holocaust Museum, Tótszerdahely Catholic Church

 

42.) L.SZABÓ ERZSÉBET: Kristály váza Üvegszál rátétes M28 Á8 cm

43.) L.SZABÓ ERZSÉBET: Kristály váza Üvegszál rátétes M28 Á8 cm

44.) L.SZABÓ ERZSÉBET: Kristály váza Üvegszál rátétes M16 Á8 cm

L.Szabó Erzsébet (1935) Hungarian University of Applied Arts (MOME) degree in glass (1958) Prague College of Applied Arts, diploma in glass art (1964) Appreciations: Munkácsy Prize (1960) Artist of Merit Award (1985) Honorary Exhibition, Museum of Art and Craft, Budapest (2005) International presence: Vienna /Austria/ Rome /Italy/

 

45.) LÁSZLÓ KYRA: Érkezés (készült 2020) Rogyasztott üveg, gumi 75x55x2 cm

László Kyra (1973) Hungarian University of Applied Arts (MOME) degree in glass (2003) International presence: Kamenicky Senov (Czech Republic) St. Helens, London, Brugge (England) Krakkó (Poland) Lette, Frauenau (Germany)

 

46.) LENDVAI PÉTER GERGELY: Mr.Mancs (készült 2020) Melegen formázott hutaüveg 22,5x9x9 cm

47.) LENDVAI PÉTER GERGELY: Asztrológus – Melegen formázott hutaüveg 28x9x7 cm

48.) LENDVAI PÉTER GERGELY: Maci a málnásban- Melegen formázott hutaüveg 20x13x8 cm

Lendvai Péter Gergely (1977) Hungarian Fine Art University, degree in graphic design, studies in glass (2002)

Appreciations:

Space Imaginations, Rotary Club Kaposvar Award (2015) Yellow Pages art Award 2nd place, New Zealand (2010) New Hungarian Avantgard –Municipality Prize (2007) International presence : Zadar (Croatia) Bath (England) Wellington (New Zealand) Frauenau (Germany)

51.) NÉMETH HAJNAL AURORA: Aurora FolkGlamour Nyakék (készült 2019) kézzel vésett sárgaréz keretben, kézzel festett, klasszikus schwarzlot üvegfestéssel, óraüveg, cirkónia kövekkel, magyar hímzésmintákkal, lámpatechnika gyöngyök, klasszikus üvegfeséssel 52 cm

52.) NÉMETH HAJNAL AURORA: Aurora FolkGlamour Fülbevaló (késült 2019) kézzel vésett sárgaréz keretben, kézzel festett, klasszikus schwarzlot üvegfestéssel, óraüveg, cirkónia kövekkel, magyar hímzésmintákkal 7 cm hosszú

53.) NÉMETH HAJNAL AURORA: Aurora FolkGlamour Nyakék (készült 2019) kézzel vésett alpakka keretben, kézzel festett, klasszikus schwarzlot üvegfestéssel, óraüveg, cirkónia kővel, magyar hímzésmintával, lámpatechnika gyöngyök, klasszikus üvegfeséssel 48 cm

Németh Hajnal Aurora (1982) Moholy-Nagy University of Arts and Craft (MOME) degree in glass design (2007) Appreciations: The winner of Hungarikum Competition (2018-2017) European Ways of Life, Young Talent of Tomorrow, Nantes (2005) International presence: Paris (France) Torontó (Canada) Prague (Czech Republic) München, Berlin, Eisenstadt (Germany) Some examples of architectural glass works: Reformed Church – Kálvin square, Szent Gellért Spa, St. Elisabeth Church – Rózsák square, Fransiscan Church – Ferenciek square

 

54.) PATTANTYÚS GERGELY: Venus tükörvirág (Specularia speculum) (készült 2020) Fúvott, majd melegen ragasztott (fusing) üveg 30x30x15 cm

Pattantyús Gergely (1972) Hungarian University of Applied Arts, (MOME), MA degree in glass (1997) Appreciations: Ferenczy Noemi Prize (2020) International presence: Bruxelles (Belgium) München, Frauenau (Germany) St.Helens, London, Glasgow (GB) Tilburg (Holland)

 

55.) SMETANA ÁGNES: Bioritmus – Fűhárfasor 6+2 elem (készült 2019) öntött, hengerített üveg 16x7x11 cm / db

Smetana Ágnes (1961) Hungarian University of Applied Arts (MOME), degree in silicate design (1985) Appreciations: Ferenczy Noemi Prize (1996) Artunion Prize (1987) International presence: Bruxelles (Belgium) Novy Bor (Czech Republic) Gus Hrustalny (Russia) Frauneau, Wertheim (Germany)

 

56.) SOLTÉSZ MELINDA: Tál (készült 2019) szabadon fúvott, irizált, színezett hutaüveg 40x40x12 cm

Soltész Melinda (1974)Moholy-Nagy University of Arts and Craft (MOME) MA in glass design (2009) Appreciations: Hungarian Art Academy, artist’s scholarship (2019-2021) International presence:  Naples (Italy) Ravenstein (Holland) Tallinn (Estonia) Párkány (Slovakia) Bruxelles, Haacht (Belgium) Kanazawa, Notojima, Toyama (Japan) Hangzhou, Peking, Hszian, Csungking (China) Melbourne (Australia) Lette, Frauenau (Germany)

 

57.) SZILÁGYI CSILLA Transfuse 02-kerék (készült 2019) öntött üveg, és beton 44×45,5×10 cm

Szilágyi Csilla (1978) Moholy-Nagy University of Arts and Craft (MOME) MA degree in glass (2006) Appreciations:  Hunagrian Art Academy, creative scholarship, Jane Kaiser Scholarship, Pilchuck Glass School (USA) International presence:  Lette, Frankfurt, Frauenau (Germany) Pilchuck Glass School (USA) London (England) Prague (Czech Republic) Bornholm (Danmark)

58.) VARGA GYÖNGYVÉR AMALA: Overnight (készült 2020) ragasztott, csiszolt, savazott üveg és print 29,6 x 29,6 x 2,5

Varga Gyöngyvér Amala (1985) Moholy-Nagy University of Arts and Craft (MOME) BA degree in glass design (2012) Moholy-Nagy University of Arts and Craft (MOME) MA degree in ceramics (2014) Appreciations: Stanslav Lybensky Award Competition selected and presented work (2012) Young Creators Competition, special prize (2006) International presence:  Prague, Karlovy Vary (Czech Republic) Lette, Frauenau (Germany)

59.) VIRÁG HAJNALKA: Monocule – csiszolt olvasztott üveg 10×8,5×2 cm

60.) VIRÁG HAJNALKA: Binocule – csiszolt olvasztott üveg 19,5x8x2 cm

Virág Hajnalka (1985) Moholy-Nagy University of Arts and Craft (MOME) diploma in glass design (2011) Appreciations: National Cultural Fund, creative support (2016) International presence: London, Birmingham, Stourbridge, Edinburgh (England) Bruxelles (Belgium) Prague, Novy Bor, Karlovy Vary (Czech Republic) Islamabad (Pakistan) Frauenau (Germany)

61.) KUNCKEL ZOLTÁN KuZo: Trópusi tojások YOARB – fújt üveg 30×33 cm

62.) KUNCKEL ZOLTÁN KuZo: Trópusi tojások RG-1 fújt üveg 15×20 cm

Kunckel Zoltán – Caracas-i Design College (1998) Hungarian University of Applied Arts (MOME)  (2002) Exhibited in: Venezuela, Spain, Germany. Currently he lives and works in Berlin.

 

 

„Herend, the porcelain manufacture itself a magic of 185 years. Full of non-documentable and manual knowledge, inherited by the generations. Famous porcelain factories abroad are closed down in succession, it is difficult to survive. One of the best known and most practicised classical technique of Herend Porcalain Manufacture is plate-tracery. This was the base of form and decor design of my tea and coffee sets. Design became prototype, then line production, having been produced even now.

 

 

 

I was the art director of Herend for three years – she begins in calm, friendly voice – it was a good decision to develop the porcelain version of the famous Gömböc* The décor of the unglazed porcelain Gömböc was designed with the help of the inventors, Gábor Domokos and Péter Várkonyi. Calculations, equations and formulas required to the unique form turn into pen-drawn calligraphies, telling us their own creation story. The Gömböc of Herend became a business gift, an object of meditation, a Hungarian intellectual innovation in all respect. “

*’Gömböc’ is a convex three-dimensional homogeneous body which, when resting on a flat surface, has just one stable and one unstable point of equilibrium.

„To work with porcelain means for me like to write a sonnet, full of definitives. My activity splits to object design and sculpture. The porcelain is a clean but sensitive material, it deforms, quickly cracks, requires high temperature in firing. Even if there is a speck of iron on it, its value decreasing.”

Along the wall, bright green leaves are peeping out from a box. At the end of last summer, a tree, 3.5 m high, having fireclay branches was applied to the wall of the school in Vép. Birds and leaves were made of porcelain. Combined application of various ceramic materials and techniques resulted in its title: “Contrasts”.

The furnace is insulated by kaowool, a material tested by space technology. At its side, some kindergarten signs. “The OviArt, a sign system for nurseries and kindergartens, is my recent development, consisting of more than 100 elements. Not only an aesthetic pleasure but practical to use as well.”

Large elements, large movements. Snakes with platinum-painted geometric patterns are dancing, made by plaster-mould casting procedure. These can be used as framing to fruits.” Arriving to the fruits. “The Wave Bowl is usually presented with a nice green apple on it. Some issues have a particular concern of me. Until successful walking around it, I will not carry on. The “Snake dance” series created in this way, and then the “Wave” collection built and extended over the years.

“Towers, towns, dwellers. The row of the collapsing buildings is an apocalyptic adventure. The smoky skyscrapers could be the memorials of the Ground Zero. Warnings how vulnerable we are.”

“I started to experiment with simple, featureless elements. I guessed whether the random stacking of the squares and changing their number could alter the denotation. I like these constructions, their meshwork and transparency hold me spellbound. You can feel the air embraced by the thin porcelain”

 

“Plates are glued together with the same material. Selecting the thickness and the construction itself can perfectly control, how it collapses, how it becomes separated, how the movement stops. Even the first piece was exactly what I imagined. Must be careful, for the porcelain becomes soft at 1400 centigrade, reaching the glass phase.”

Contemplating on these objects, we are thinking on who live in each cube. Sometimes there are friendly colours, velvety blues. As we guessing, she gives away: “The small buildings symbolise people. The citizens of the city are the singles and the couples. Recently at an exhibition, I built a whole city of 500 buildings”

My recent project is the recycling of porcelain waste. Producing a new material, lamps and objects were constructed, shown at the Museum of Applied Arts.

4/2/2012 Budaörs

Ferenczy Noémi Prize (2005.)

Read more:
www.babospalma.hu

www.oviart.hu

“We had an “iron-framed” piano at home. All at once, I closed the lid, it was enough of practice. We stored it at home for a while, then I got my mother to sell it, and to buy a TV set. So it happened. From this time I engaged in the visual arts. “ .

.

 

 

I acquainted with Endre Lukoviczky, my husband, at the Danube riverside. Two days later he came towards me in the College of Arts and Crafts, where we were matriculated. Since then, we are together-

The College taught us everything. We learned to draw, paint, weave, restore, all kinds of mural technique. It was a closed world.

The most difficult is to put a point on the white canvas. I don’t photograph the world, but I want to express feelings. Art is an illusion, and through this we need to indicate a thought, to grasp its essence, and (if possible) to declare a truth.

Mostly I paint with oil. I paint three or four layers for months. Each layer is connected to a different experience and emotion. I work with watercolour if the fast technique, the freshness and the idea are important.

Tapestry weaving is like raising children: slow, monotonous and enduring work. Diligence is necessary. The monotony helps me through my hard times.

The Art Colony is a strange and fascinating world. The studio of a globetrotter artist is fairly beyond imagination. She could tumble on treasures what others leave behind. For her, first of all, the artistic and technical value of an object is capturing. Pennyworth memorabilia of forgotten ages turn on, what an expert can insert into a due ambience. And then these start talking.

Her continual eagerness, always get-upped, and her stories accompanied by broad gestures are fascinating. As if everything would go smoothly in her live. Just thinking one, and she makes an application for a studio in the New Szentendre Art Colony, in construction. Then suddenly she is invited to the US. Swedish trip coming, then a scholarship to Italy, other trips and exhibitions.

“We’ve always worked a lot. We are delighted what we have, frequenting concerts and theatre, we welcome our guests. And, we keen to follow the news of our profession, for the world is seen through our profession.”

 

2/12/2012 Szentendre

“How old is the domestic art of forging? I’ve never thought about it. It started probably in 1963.” The book of Károly Bieber was published that time.

At the beginning of the last century it was quite a time to create wrought-iron handrails, window grates, and gates.

In the old times the church was in the centre of the village, the blacksmith was at the end. This craft was connected to the agriculture; they made wagon wheels, and put shoes on horse.

“I was born in 1951, under Pisces. 43 years ago I joined a modeler workshop. We made wrought-iron patterns for Austrian export. What they did not accepted, all we sold at the home market. That time the Artex and othed firms were engaged in foreign sales. I worked abroad as well, but I never thought to remain abroad, even if my grandmother was Austrian.”

I started to work at the workshop of Zoltán Pócs. He died in the eighties, but I maintain his sign above my entrance. The master had a huge prestige. If he received an official letter of the local government, he sauntered off to them as he worked, with greasy and smokey apron. The immediately sent back: “ It is all right, Uncle Zoli…”

In the house near to the Italian Institute, downtown Budapest, we carefully descend in a lightly illuminated stairs. In the vaulted cellar there are handrail samples, lamps and chairs. Inside the coal is glowing red, the hammer clangs on iron, a welding torch is sparkling. Dwellers were accustomed to this noise. This workshop is a part of the downtown life.

Budapest has many valuable relics of wrought iron. As he thinks, a lot was destroyed even in the last decades. At the renovations there is no documentation sometimes. “We need ourselves to find the right pattern. After many years of practice, we can reconstruct anything. A piece of the handrail is sufficient. We use contemporary procedures, for example, riveting.”

 

Our house was built in the 1920 years. Already five years I am reconstructing the wrought iron handrails, the gate, and the lamps. The glass lampshades were stolen. I made the globes blown at the Tokod plant. Since then, the plant closed.

At one time I had a lot of orders. When I made a gate, the neighbor came: How many leaves are on that gate? Thirty? Then made me one of sixty!”

Ten years ago he employed 4-5 workers, now only one. “ I came here in 2001. I saw several places, but this workshop has had a feeling, I liked the atmosphere, it is in the city, I like to work here “- says handling the cutter. Maybe this craftsmanship comes to the end with his generation.

Many prentices were here in the past, but they did not stay at this trade. There is no vocational training recently. “ I am not calm: you cannot bash a nail using computers. If I were born again, I become a smithy again. I am a king. It is a royal feeling to create something with fire.”

30/6/20112 Budapest

If someone is a ’plein air’ painter, so he has an outdoor studio under the sun, then make an excursion. Beautiful autumn, perhaps there were never so miracously colorful the landscape around the small farmsteads in the South Lowland region. .

 

 

 

Struggling with the bush, we follow a vanished path defending ourselves from the shoulder-high stinging-nettle and trying to cross the heaps of mulberry tree branches. Everything is either biting or stinging, there is nothing to grasp.

 

One house has already been strangled by the vigorous lianas, another house nearby: „This spring this was visitable, I hoped that it would not collapse until I arrive. But also this one is crumbled, totally ruined. I am not interested in ruins, I wonder the very last minutes before turning to end.

Visiting the scattered homesteads in this region „Kiskúnság” we can study the last phase of the 100 years old country life. For the region is characterized by small patches of forests and fields, these farms survived the forced organisation of „cooperatives”.

“Due to external economic constrains, the self-sufficiency sentenced to death today. Being a thriving economical unit fifty years ago, instead of the five horses suddenly only one was in the barn, and now even the large wine barrels are empty around the house. “

 

“Along the farm row of Kecel-Tüskös mainly Slovaks lived. They decorated their orange-purple colored houses with rolling patterns. You can see here: they tested several patterns on this wall. In the sixties, maybe? The Swabians (German settlers) applied other colors, but the need of the civil culture can be seen everywhere.

The Felsőbánya cemetery is on a hillside above the town, the Catholic and the Protestant separately. Below the picturesque huge chestnut trees there are the tombstones even from the years of 1700-1800. Among them: the thick, soft pillows of moss. The breeze gently blows their thin sprigs. One day a truck came and collected the cast iron tombs. Hopefully, the stones will remain.

The painter is full of the historicity and the perpetuation of the last remaining values. Perhaps this is why he paints aquarelles, based on sight, as the old itinerant painters did.

You must be present, so you can be authentic, inspired by the scene. The old market town house is uninhabited. Tomorrow it gets the table: for sale. The new owner will come, demolishing it, and a story as well as an era disappears. There is a new world next door: a white-painted iron gate.

What is the source of the artist’s urge? Perhaps the sense of the deficiency…

14/12/2011 Monor