Kutassy Andrea

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

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