“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

It was a hot summer, the forge-work cruelly makes to sweat. A traditionalist association ordered a dozen ornate shields. I thought I’d better get up early in the morning until it was cooler. Windows were opened, down the shirt. I put the ear-protector, and started to forge the iron. I worked for awhile, when got thirsty. Stepping to the window, I saw a group of sleepy-eyed girls standing in the yard, peeking inside with desperate. I forgot that the summer free school began that day. The participants arrived last evening.                                                                                                                                                                                                                                                                                                      .

I also owe to the Free Art School Mór to become a blacksmith and locksmith. I arrived here to study wood carving, but the smith asked me to help him a bit. I have found my real profession, and now tasks find me. To prepare the figures to the astronomical clock of Székesfehérvár, I only received some simple drafts. The art director said: ‘Bend a little more here and there…’ The others were left to me. To finish the figures of the Hungarian kings and burghers I needed two years. It is said that I am a good coach. The only female horseshoer of Hungary is of this town, Mór. I taught her. The petite-sized young lady loves horses, and has a high recognition in this profession.

Observing the harsh smell of glowing charcoal, and rhythmic clinks of the hammer, we immediately know that the smith is working here. He converted this workshop from a ruined lodgement of servants at the count Lamberg mansion by himself. Along the smoky walls, blackened in 20 years, are iron gates and palisades, just made. The object of vine pattern was made in two months. It will get a cover by fire zincing, then no need to paint – at least 20 years no rusting.

Everything is esteemed here, although second-hand acquisitions. This machinery served even 100 years ago. The anvil is an old piece; he will not give up it. “I knew an old blacksmith. The centre of his anvil was deeply worn out, but he was able to hammer a straight cant-hook.” Apart from his traditionalism, his thinking is very modern. Even the companies help him, if he ask modern technology. He commissions hand-size, frilly leaves by laser cutting, and he gives an order to bend thick iron rods with pressing machine. The time must be reserved tor the fine works.

A lot depends on the fire as well. He use high quality Polish coal only, it is glowing long. While he gladly talks on the secrets of his craft, he routinely passes a hammer to us. “Please, try it!” he says, and we try to make a curve of the glowing iron rod. It is no coincidence that the others seek his companion. If somebody wanders into his smithery (a hesitant procurer, a sculptor asking expert advise, an interior designer who need new ideas, or someone arrived just for a little joy), surely not come in vain.

20/11/2010 Mór

Some personal details:

Founding member, Open School for Fine and Applied Arts, Mór. Member, Association of Székesfehérvár Artisans. A lot of his works were accepted by the Committee of Folk Art. His workmates were Ildikó Várnagy, Benedek Nagy (sculptors), and Mária Ecsedi (graphic artist). He organised two meetings of smiths in Mór, arriving smithery masters from the whole country. He participated in several similar meetings abroad. He regularly makes workshop-performances for tourist or expert groups.

+36-30-258-2756

As a child, I learned to play violin. My teacher held the tip of his knife under my elbow, to keep the perfect position. So I finished the music. I loved drawing, dismantling-assembling, any work of mechanic. In this way, logically, I went to the engineering polytechnics, later to the College of Applied Arts, where I graduated as industrial designer.

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In my high school time, as well as in my college time I worked in a locksmith’s workshop. My old master was forced to move three times, finally he gave up the business, offering me to take over his workshop. In this way my designer activity gradually transformed to handicraftmanship.

As a member of the National Art Foundation, I designed and produced various objects, for example, a lamp series. For a while it worked smoothly, but later I realized that the design is not my world.

To restore something has more manual work. I enjoy the integrated problem-solving jointly with architects, with experts in heritage monuments as commissioners. If the original is not exist, we talk over the style, the proportions, the technical solution, then I prepare it.

At the reconstruction the president’s palace at Budapest I could produce the historical coat of arms of Hungary, and lamps, and inscriptions. For the Klotild Palace we made lamps, for the Tihany Benedictine Abbey banisters, locks, grilles. I have orders continuously, either renovation or production of authentic copies.

The most exciting objects are the locks. I met interesting and ingenious constructions. The largest one was 30 cm about. I have private costumers as well. Those buying a country house need authentic fittings, but for a new, modern building they order elaborate wrought iron or locksmith pieces.

A major problem in renovation of old lamps is to obtain lampshades. For these beautiful Art Noveau chandeliers I managed to find accessories. These are interesting rarities. To move up and down, there is a pole in the middle.

Lot of things is to be amazed in his workshop. A drill stand, operated with weights instead of springs.

And an old manual press, and a metal pressure pad in the corner. These produce the metal cones of the lampshades. Need strength and endurance.

“I was hoping that one of my sons followed me. Instead, they became an architect, a trumpeter, a pianist. At one time I taught at the Technical School of Göd, maybe there would be pupils who capable of receiving my mastership. For about ten years, I had apprentices here in this workshop, but all defected except one.

But, the grandchildren! I have twelve grandchildren. One, thirteen years of age, is a summer-time apprentice in my workshop. He could be ten, when we got a cartoon series of his, entitled “Four Season”. When we asked the nine-year old other, what he would like to be, he answered: “I want to be a smith, or a violinist, so live long, grandfather, please!”

28/10/2011 Budapest

 The ring means to us, mostly, a jewellery on our finger. It is not a real surprise if a cat’s tail curls around your finger. But it is a bit strange, if a mountain goat prances from your annulary. Their speciality is so compelling that both can be seen at an exhibition poster.

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“ I made two-finger rings, and palm jewelry. Then I invented all sorts of creatures.”

People liked them. Even the profession notice these successes. The uniqueness, the world of little creatures and gadgets capture the imagination. Especially if made of silver.

Precious metals were respected by all cultures. The same is in this country as well. But nobody realized that the official hallmark could damage the sculpture-like jewellery, therefore it must be destroyed. “I started with unique objects, and suddenly I found myself at a strange place, at the market.”

“I was fed up. I already made silver jewelry for table sets. I thought to apply the same design in a bigger size. Since then, I work with ceramics. “

He graduated at the University of Arts and Crafts with major of metalwork design. Fortunately, he was absent in the ceramic lectures where it was taught dogmatically that plaster and glaze should be kept apart. So, from sheer curiosity, he mixed glaze and plaster, creating an exciting surface, used till now.

“They say all sort of things what these objects bear resemblance. They refer to ancient cultures, but these objects are simply animals and figures born in my mind.”

“It is very rewarding to work with chammote clay, because it is stable, and I can try the impossible freely.”

Sometimes he returns to his original workshop, acting as coin designer. It was he who created the coins of 3000 and 20 000 forints, issued by the National Bank on the occasion of the Millennium.

A question: will he ever produce silver jewelry? He is creating it now, but of ceramics. It is true that only rarely, because few understand and appreciate the meticulous and precise work as well as the special glazing.

31/1/2013 Telki

“Here we are/See: this is the castle of Bluebeard/No shines like your father’s one/Judith, do you follow me?”….Who does not know Bartók’s passionate opera, in which at a ‘star-lit black night’ along the tear and blood-soaked gloomy rooms the young lady in love, praying for the keys of the secret doors, meets her doom, as the fourth victim of the prince…

The ‘Bluebeard’s Castle medal series won the ‘Honorable Mention’ award at the 30^th International Medal Art Exhibition (2007, Colorado Springs). At this biennial exhibition of the highly regarded international association only the First Prize was given, apart from this mention. The ‘glory’ of the old wood was a breakthrough inside the medalists’ circles.

A friend of mine just wanted to burn a rickety jointing plane. The traces of tools and the time sealed its fate, the wood wore out, and the holes lost their shape. How to capture the waters of forgetfulness, how to present this drama? I drew circles around some pieces with pencil, saying: “Please cut out these pieces and the rest can be burn”.

According to the regulations of the medallist exhibitions, an accepted object must have 15×15 cm size maximum. Today, artists of the medal art are stretching the extreme limits of this genre, using unusual materials and variegated forms.

We can find the classical, well-known medals at the displays on the wall, while the irregular “printouts” of profane subjects are in the drawers. But here are the two-sided medals with “window”, grabbed convulsively by wistful collectors: “I need this!”, and they do hope not giving up any more.

The “mounted” medals are made of shining pure steel with perfect accuracy, even if they would be tricky moving, sound-generating parts of a magic device.

Our foregoing knowledge in medal art is altering drawer by drawer. Along the bubbles encapsulated in plexiglass and along the magic Far-East writings, there are animal skulls, inlayed into finely chiselled wooden disks. And “art boxes”, which are able to tell us everyday stories, seceding from the strict interpretation of the medal.

The disks, triangles, squares, coconut shells, all decorated with feathers, shells, pearls, semiprecious stones, and laces, are not for expelling the evil spirits. The cultic “proto-coins”, referred to the beginning of our civilization, are fictional objects. Early times similar ones served as money.

As a laic person, we have an impression that we might call ‘medal’ every artistic objects of a man’s palm size, what tangibly represents the proceeded value, be a cultural heritage, a human performance, or the life itself.

But the objects of the Past can transform not only into medals. Pieces of broken clocks, out-served tubes, trumpets make the row of “clock sculptures”. And the iron, deprived from its substance, recalls the nailed objects of Man Ray.

My father was a sculptor as well. When I buy a hammer in my childhood, he wondered: “I have a lot of hammers in the workshop”. But I said: It is mine!”. Somehow it started…

27/10/2013 Budapest

Fontosabb díjak:

1993 – Arcok és Sorsok, Országos Portrébiennále, Hatvan, Aranydiploma fődíj

1996 – 9th Cloisonne Jewelry Contest, Tokyo, Encouragement Prize

1996 – Fej Vagy Írás, éremkiállítás fődíja

1997, 2007 – XI., XIV. Országos Érembiennále, Sopron, Civitas Fidelissima díj

2000 – 7. Országos Faszobrászati Kiállítás, Nagyatád, a város díja.

2002 – Masaccio 600 International Art Medal Competition, Ein Vered (Izrael), Special Mention

2003 – XIV. Országos Érembiennále, Sopron, Civitas Fidelissima díj

2003 – Rejtő Jenő emlékkiállítás és pályázat, Budapest, Petőfi Irodalmi Múzeum, I. díj

2006 – II. Articum Nemzetközi Képzőművészeti Biennálé, Szolnok, Szobrászati díj

2006 – Ligeti Erika-díj

2007 – XVI. Országos Érembiennále, Sopron, Ferenczy Béni-díj

2007 – Art Medal World Congress FIDEM XXX, Colorado Springs (USA), „Honorable Mention”

A Magyar Képzőművészek és Iparművészek Szövetsége, Éremszakosztályának elnöke

A shelter means different for anybody. Wearing jewelry, one should like to attract attention; others, maybe, want to hide behind his/her ornaments. Four goldsmiths made a team to define, using their objects, what does ‘shelter’ term: the freedom of though, the words behind that we can hide, the salvaged past objects making security for us, the nature where you can escape from the noise of the city, and the fantasy world to retreat… “For our joint Budapest exhibition we published a book, presenting interesting people.”

“At the Munich Jewellery Week our photographer presented this book to the bookseller, participating yearly in the festival. He said: “Michael is a charming man!” When we introduced our objects at the Week, we brought (of course) the book, and we wanted to get to know “ charming Michael”. The evening reception of the international jewellery exhibition was full of participants, and we were looking for Michael. It took time until we detected him. However, the athletic, bold-shaved gentleman wearing thick, black-rimmed glasses said: he is certainly not Michael.”

“The five-member party of ours continued the search passionately. It turned out soon that the men in general liked to get rid of their thinning hair, so we localized a series of elegant gentlemen of baldhead soon. It was a good evening program for us.”

Search is fundamental for them. She thought on it and on Michael, when she hid a pearl into tekla beads, an onyx plate into the circle of copper petals, and a golden grain into the galvanized hematite ones. “Our domestic people expect a jewelry made of precious metal or stone. However, the contemporary jewelry prefers the design”

At the time of Napoleon III silver leaves hidden in aluminum plates would represent a completely different value. That time aluminum was more expensive than silver. The emperor did have an aluminum tableware, he ate with an aluminum spoon. “ Even I made a utility cutlery set of silver and bakelite. When Eckart Witzigman, the ‘chef of the century’ visited Budapest, the Hungarian Gastronomy Association presented him with such a dinner set.”

The jewelry is best if personal. Feri, the British Blue cat is lazily watching our conversation. „ It was two years old when I took in. I made my darling a brooch of its sloughed whiskers.”

I use generally silver with cooper. As I know, I make this mesh pattern exclusively. A bit like a mokume-gane. It needs many working phase, but the pattern particularly makes a good appearance on the globe surface.”

The goldsmith’s art always tied strongly to the religion. The votive objects tell a lot about the era in which born. The EightDays Design team determined that, using the modern design, they brought closer to the young people the Hanukkah tradition, relegated after the Holocaust decades. “My first idea was a cube. But, according the Talmud, the miracle oil burned for eight days. So the sacred candelabra had an octahedron shape. We had a lot of problems along the production, but at least, we found the right material and workshop.”

“ It was a great honour that last year at the Jewish Museum, Budapest the Hanukkah candles were lightened from our menorah by HE Ilan Mor, ambassador of Israel and Mr. André Godfriend, first secretary, US Embassy.”

“ The selling of our  ‚hanuka 21‘ candelabra was started at the shop of the New York Jewish Museum. Since then, modern-minded child’s toy was added. It is a teetotum, inside is an ancient Hebrew verse: there happened a great miracle.”

“In the performance of The Jungle Book two dozen of dresses are playing. To create the sets of accessoires for the dresses was a fairly exciting work. We gathered duck bones at a wedding party, from the sea we carried home five kilos of shells.  You could imagine what a creative work was. The result was fantastic, the audience highly enjoyed the spectacle. I love the theatre. It is a hectic world, but it needs your versatility. Mediaeval and noble patina is required for the great classics, for the works of Shakespeare. I found some English literature in the library.                                                                                                                                                                                                                                                               .

As I was learned, to produce a permanent coating you need to soak the cooper in different solutions for days. Being encouraged, we made a team of applied arts, of leather and textile specialists, and we created the modernized versions of eighteen Middle Age dresses. My job was to produce the buckles, the buttons and jewelry. The exhibition was a great success.”

I make statuettes, using solid, cast materials. At the University of Arts and Crafts I learned the technique of lost-wax (”cire perdue”) casting. I carve the pattern from hard wax of dentists, the pattern will be placed to the molding material. Then casting of vacuum-filling follows. This procedure is unlike to the nowadays goldsmiths’ work, for example, which uses golden wire or plate to frame precious stones. I prefer silver.

Her workshop is a cool island in the summer heat. Sipping ice water in the airy terrace, we are trying to get rid of the daze. Bodza, the dog wants to play. Her house is packed with objects connected to her creativity. Marbles, corals, semiprecious stones from a fair, small piece of exotic woods, ivory piano keys from a friend. All of them are a part of a reasoned thematic.

Most of the work is to design and to pattern. She is working with lost-wax casting, what she learned at the College. The model is carved from hard dental wax, then it is covered by the mold. Then comes the vacuum casting. This method is differing from what the modern gold and silversmiths are applied, they are using plates or wires to chase mainly semiprecious stones. She makes a rubber flong of her each jewel, so it can be reproduced later. Copies gain unique form by variegated patterns and exciting inlays.

An unviolated piece of a Japanese silk kimono, or a nice fragment of an old Afghan cloth are fit to her jewellery of “textile rescue”. To detect these pieces you need an expert eye. It is a great fun when colours and patterns turn up in cleaning. To rescue these natural and precious textiles is a tribute to the tradition and our ancestors. “One of my friends makes the Japanese pearl fabric using tiny glass pearls of perfect size, fitting precisely to the setting”. On the desk in front of the window are blueprints, an old anvil, and few fine graters. “My father is an engraver, he made me this hammer” – she explains origin and respect of the well-trimmed tool. Well, it is easy!

Her career

1997: Master of Arts (metal working), University of Arts and Crafts, Budapest. Her activity extends to design of jewellery, coins, awards, and ornatures in theatre, drawing teaching. Her jewels are arranged in series, characterized by a specific material (e.g. parchments, pieces of antique carpets, fragments of old objects).

13/11/2010 Érd

Awards:

1994: Rubik scholarship to the University of Industrial Art, Helsinki

1996: Moholy-Nagy Design Fellowship

1998: L. Kozma Fellowship of crafts

2006: Creative fellowship of National Culture Fund

2009: Special award, 7th Biennale of Goldsmith Arts

In the morning I go down to the workshop, almost not standing up from my seat until ten o’clock at night. Unpacking my tools, a picture appears in my mind: garden of flowers, starry night sky, fairies, mermaids. Outside world disappears. I have periods: bubbles, tendrils, lotus leaf. First, I have to decide, what I create: hand, foot, neck or belly jewelry. Having ready the base, the tale of the object comes. Silver wire is wrapped.

Ends will be hammered se softly as if we strike a line with brush. I inset Swarovski crystals, moonstones of enchanting play of blue light, rock crystals, freshwater pearls. These things are not expensive, but valuable. I have not two jewelries of same kind. I am glad if that people divine my tale. Especially the kids are adaptive, they can tell me all what I dreamed.

Graduated at a Budapest high school, I immediately went to France to learn how to make leaded glass. After three years of studying I had enough of the dirty Tiffany style. I do not like the tin-lead soldering. So I made some tiny wrought-iron jewelry just for my consolation. I invented ear jewelry. Then I was stopped at the streets, everywhere: where you got this?

My friends took me to the exhibition of the Young Artists’ Club, founded by Jean-Paul Gaultier. Thrilling with fear, I asked: what I was doing here? I got into a team of real cool artists, who dare to do special things. Dear old ladies stopped at my desk: ‘how beautiful! It is the same as at the time of my grandmother!’ They paid by check, I did not ever know where to cash.”

Then I was invited to the masquerade ball of Pierre Cardin. The belle of the ball wore my iron lace mask. Her photo appeared in the Vogue. The organizers noted my name. I serially got professional orders to create fans, masks, even the crown of Sleeping Beauty in the theatre. In a castle near Paris Gothic balls of period dresses are regularly organised, my jewelry is popular there. At the Carnival of Venice my masks are worn mostly by men…so my glass objects lagged behind definitely.”

“There is a goldsmith’s workshop in Paris. We ten rent it, paying annually. The price is reasonable, and there are old but well-tried devices: a soldering machine, well controlled by a prehistoric pedal as a sewing machine. Machines, with which I can handle bigger blocks as well. A grinding device can produce matt, silk or glossy surfaces.  In the workshop we are usually five or six. One of us is working even with diamonds. Recently I use silver. Silver is breathing, I feel better using it. It is clear as snow, shines like the Moon, and becomes me.”

We are sitting at the porch of her grandparent’s house of Art Nouveau style. “ The most important things for me are the freedom and the spontaneity of my life. I have some driving force; my head is full of ideas. I wanted to know the fundamental techniques, so I enrolled in a goldsmith school, but wherever I go, I visit the local masters, to learn more. I have a box containing the things what I need to work under way. And carrying my small case of presenting I am admitted everywhere.”

A part of my family lives in Cambodia; there are friends in India. I go to the crowded night market, where artisans are selling among huge trees, lanterns are lit, there is music, and people come and go. I get a small place at the traditional Indian textiles. I put some candles, decorating my stall with a few leaves, this is the background. People like the handmade things, it is a fun for me, and helps my life run. How I would like to create once a huge, thick, not-to-wear piece of jewellery!”

20/4/2011 Budapest

Read more: www.andreakutassy.com

Designing buildings, I think on forms, functions and spaces. Designing jewelry, I concern the form. I like to create objects for exhibition, for in this case I can go beyond the sensitive issue of the ‘wearability’. Decisive architects and architectural motifs inspired my exhibition set “Adornitecture”. Buildings of Carlo Scarpa, Italian architect are characterized by the unexpectedly appearing details, related to crafts. One of his medals refers to a hollowed-out door corner, another to a mosaic window.                                                                                                           .

The golden whale of Frank O. Gehry above the Barcelona harbour gave the idea to use copper mesh. Seeing the brave and unusual structures, the network of steel cables, amazing bridges and halls of Santiago Calatrava, we can think that the modern architecture is nothing more than an enlarged jewelry.

In my undergraduate years I worked in a Florentine architect studio. Even today I benefit from the spirit what I met there. Being an architect, I have a beautiful and interesting job. But, I started to learn the goldsmiths’ craft, because I want to realize my ideas without using computer graphics.

It is a great experience to create my objects with hand and tools. At the goldsmith vocational school my exam metalwork was a Mokume-gane bracelet. This Japan-based technology bases on combined use of various metals.

Meanwhile I applied for jewelry design course in Milan. Teacher-artists consulted individually with me, being like a private student. I designed and drew from morning to night. I got my degree at maximum points. My chosen theme was “The Silver and its companions”. In addition to silver, in my collection created copper, precious stones, wood, textile, paper and perspex were featured.

At home, I realized several jewelry design of Milan. This medusa necklace was purchased by a young architect as a Christmas gift for his sweetie. I have not found a due yellow stone for my yellow bracelet, but my master in Milan is keenly waiting it.

The jewelry is very personal. I need to know who will receive it. On the finger of a lady judge, such prongs on a ring carry prestige. This green tourmaline, inlayed into a half-cut green gingko leave will accentuate the green eyes of the owner.

The trends in design jewelry are fairly variable. Extravagant pieces are looked for in Germany, England, or in the States, whereas the Italian taste is conservative, and restrained against the provocative outfits. In this country the unique jewelry is becoming perhaps more popular, but the classic gold jewelry still has great appreciation.

For the Week of Design, I compiled a collection of concrete: “The Reversed Rings”. I played with material structures: what surface can be made of impressing the linden leaves from the garden, the lace, the leather, the plexiglass, pearls, or metal chips.

My medal-obelisks are the part of this architectural experiment. When not dealing with buildings, I make jewelry without limits, working totally free. I like to construct such special forms and surfaces that surpass the imagination.

The fire is always witchcraft. My children often told me like that. Two weeks before the Red Mud Disaster, we were working at the artists’ colony. In the evening, we fired in the darkness. I made a large red picture. Returning to my studio, I noticed that a piece of a small house was lost from the picture. All at once, a colleague came bringing this piece. ‘I found it in the grass outside. Does this gadget belong to you?’ At home my kids asked, what was this picture about?.

I said – I don’t know, surely some dreadful thing, perhaps this is blood, a house overturned, and a mourning band… Later I turned pale when the disaster was announced (Red Mud Disaster, 2011: a huge slurry pond of the Ajka Alumina Works collapsed, and the red mud flushed some villages causing deaths of ten and enormous demolition)

The Morelli name is very common in northern Italy. My great-grandfather served in Garibaldi’s army, later he went to Poland, then settled down in Tokaj with his Polish wife. One son became a woodcutter. After his studies, he went to see the world up to London. We have his correspondence. From London, he brought to Hungary the color printing technique of the wood engraving. For a while, Gusztáv Morelli was the director of the Museum of Applied Arts. One of his grandsons was my father.”

She collected the technical literature from the Széchenyi National Library. She started with making small-scale enamels to learn the materials. Having been trained in arts and craft procedures, she preferred the painted enamel. As a co-founder of the Kecskemét artists’ colony of enamels (together with Kátay, István Petrilla, Edit Stefániai, and Fabók) she participated in the summer works. They went back to the roots, using ancient Hungarian motifs and invoking the Renaissance times.

On the occasion of the Millecentenarium she displayed a large composition, portraying the tempestuous periods of the Hungarian history.

Painted enamels were cultivated in Limoges, for a long time it was unknown here. For the seventies, thanks to the Artists’ Colony, Kecskemét arrived into the row of world’s top five enamel workshops (the others: Limoges, Mores, Erfurt, Barcelona). World-class recognition was luring artists from around the world. Enamels became trendy even in this country as well.

The fired enamel is really a noble material. It became very popular because of its thousand-year value. Unfortunately, if the knowledge of the material and the procedure is not perfect, it does not become a true work of art, but simply a philanderness. “The strong richness of the enamel means a trap to the artist, because he/she must have such an inner strength and creative invention, that his/her gestures of creation may cope the richness of the material”

For the new object of the four basic elements we need to carefully select its carrier material. She likes the processed, used wood. She carves it, but eventually an old and battered duster stand from a yard could serve in a 1956 monument.

You must learn the techniques of the fire enameling. There are the big group of the goldsmiths’ enamel and the painted enamel. Their applications differ. The fired enamel unites with the carrier (base) material, but it joins with metals of similar melting points only (gold, silver, copper). Pricing for goldsmiths’ enamel is the same as for gold.

The iron-based enameling was possible since the turn of the century, only with industrial help. The technology is quite different, for the iron can not join to the enamel. Enamel firing of large objects is in big tunnel kilns. Because of industry downgrading, in Hungary only one tunnel kiln is operating in Bonyhád. “ I like working in this plant. Over your head the conveyor chain carries the tinkling pans and basins, bluster and stink around, everybody is shouting for the noise … There is something what I can make there.”

She just arrived from Naszvad, where 35 large-size fired-enamel pictures of her were exhibited, and where she was awarded with the Master title and the grand prize. “Now, you need to help all of us” – they said. But, she made the same all his life!

28/6/2012 Budapest

Awards:

Ferenczy Noémi Prize

Szent Adalberti Prize

“The bronze statue of nearly five-and-half meter was cast in 60 pieces. Each piece weighted 100-120 kg. Even to move the pieces required many people and good organization. In 2011, this statue was raised for Mr. Sándor Wekerle, eminent statesman of Hungary in Mór, his birthplace. The sculptor was Mr. Benedek Nagy, my father.”

A dozen students helped when needed. Welders made excellent works as well. Welded seams were grinded, then the statue received a patina layer, so its surface turned more beautiful.

Lost-wax casting (cire perdue method) is applied. As example, the birth of a public-area statue is presented using the sculpture of J. Zichy, a famous statesman. A mold is made of the original model, using polyurethane rubber; an outer mold is made from plaster. Once the mold is finished, molten wax is poured into it until an even coating covers the inner surface of the mold. Beeswax was used before, a Niral material now.

Metal is melted in a crucible in the furnace in his yard, and then poured carefully into the shell. It is no secret, either, that every public statue has a huge steel rod in the middle, that the metal thieves could not steal the statue.

He has casted, using bronze, a lot of things: man or horse, small or large. But it does not matter what the sculpture represent. For a caster, the important thing is to pursue exactly the vision of the artist. This does not just mean a perfect shape, but the choice of material, color and patina. Without partnership, technical expertise and humility the trade is not conceivable.

„Is there any temptation to add a little something to the model when working on an important piece?” „We correct a model only if the bronze thickness needs. There is a story of a help-mate caster, who, jokingly, aligned the tail of the horse from right to left at an equstrian statue, made by Pátzay, the famous professor of the Academy. The Master did not appreciate the joke.”

To know the material is a key issue. You must exactly know the behaviour of the alloys. Melting the copper, it is important how much tin or other metal are added. “ A designer asked me to produce some lamp arms of aluminum. Casting of aluminum is rather an industrial procedure. Expensive, and remunerative for large series only. I will stay at bronze and at the statues. “

His father, sister, and brother-in-law: all sculptors. Among these excellent artists he has no artistic ambitions. He, however, observes the slowly evolving waves of the wax, poured to the water: as the lava flowing out of a volcano.

Just for curiosity, he needed to cast the waves using iron and bronze. An interesting form came out from a bunch of dry flowers, and the miniature window frames framed together look well.

13/7/2012 Mór

“I prepared myself to participate in the “India” exhibition of the Sterling Gallery. After making a ring of cat’s whiskers, I wanted to construct a ring of tiger’s whiskers. Bogi (his wife Boglárka) surprised me at the whiskers. She called the Zoo

They said: ‘You have great luck, had you called us yesterday, we would have said no, but just today we found two files’. It was made of the one, the other file is waiting for being inserted.”

“We live together with my parents. Ever since I can remember, my father is whittling in the basement. The outbuilding was weaving plant and metal workshop as well. When Bogi and myself received this place to use, we needed a lot of tools. The stove was bought from the flea market, a familiar master gave us this turning lathe, and hammers arrived from here and there…”

The equipment of the workshop strongly reflects their many-sided interests. Before the university, he graduated at the “Art and Crafts High School” as apprentice in metalwork (vocational certificate). This workshop was established using experience from there. Thus, for example, they have a classic Brett-Guard table saw. Using this device, it is easier to work with straight back, and collecting the metal filing.

For casting with lost-wax technique you need a wax injector. For a son of a devoted do-it-yourself family it is not a big problem to recycle a gas boiler thermostat, and producing this important tool. Bogi created her “gopher”ring using this injector.

“We learned object creative arts. During my Dutch fellowship I made this “Dino” chair. I could hardly go out to the streets being asked: “Where can we buy this?” Really: this is the question, where could I make it manufactured?

This pepper mill grinds in several grades. Not only practical, but it can become a table decoration as well. We would like to see it on our dining table!

We walking around the house, and then out to the yard. “Grandma planted not only pine-trees with passion, but gourd as well. From this, I made a rebec first (the ancient violin), then a Saxon lyra. The walnut was produced with a little sculpturing.”

In the garden there is a shed, under construction. It hides the old anvil of 100 kg around. The steel knife was made on it, using Damascus technics and youthful devotion. To produce a blade by forging layers is the grand test of the craftsmanship.

On the grass there is the model of the play-sculpture Dragon, diploma work of Bogi. “The Dragon is a frequent motif of the Gypsy tales. In a small village, Bódvalenke, we made the replica of this form, helped by the local Gypsy people. Its skeleton was made by traditional basket weaving techniques.”

The afternoon passes away, turning cool. “Do you really want to see the metal casting? “ We can hardly wait to this moment at the workshop of akchemist’s atmosphere; this is the highlight of our visit!

22/6/2011 Budapest

Read more:

www.imreiboglarka.com

www.szilosa.blogspot.com