10 kerámikus művész (Fővárosi Tanács Óbuda Galériája, Budapest, 1981)
UNE AND CERAMICS It is commonly known that Une is an important means of expression in arts and offers numerous solutions. A smaller group of ceramic artists has chosen from these numerous opportunities whatever appeared to be the most natural to them. These artists did not aim at exclusive definitions and theories, but they realized whatever occurred to them as part of life or as their experience in work, whatever they have touched upon in their earlier works, at earlier tasks and intentions. Yet the question occurs if ceramics has no other, more characteristic and exciting problems than Unes alone. Such a question may be justified, yet one should say that in this particular case the chosen subject is the most important one as participants of the exhibition have identified themselves with it. The artists cannot be listed under various groups as their association was not inspired by artistic trends. It is characteristic of all of them, that they have an indirect approach to the idea of Une with direct means. And occasionally they have very well twisted the subject. PÁZMÁNDI Antal represents drivers with realistic shaping in a manner that they hardly even look out of their car. The work is entitled "besecting line", thus joining in a curious, indirect manner to the subject of the Une. GESZLER Mária and BORSÓDY László processed experiences of landscape. Both of them call our attention to many kinds of relationships. In the works of Geszler the same landscape appears in different visual positions. It appears in a frame, in curved space, and in broken form. Borsódy moulds a map of a river into day then puts it into the river. Thus his work and the landscape become identical at a certain point in his "Line of the Danube". KOVÁCS Gyula and KÁDASI Eva are related to each other in so far as both of them strongly emphasize their gestures. Kádasi seeks traces of time, its petrified remnants. He keeps on watering, drying, wearing his day portraits until they become a phenomenon of undefinable age. Elsewhere he compresses into one phenomenon the lined cracks of day and the silhouette of his own palm. Kovács Gyula pays attention even to the stage prior to the Une. Many artists are characterized by a lyrical tone, but it is even more so in the case of ORBÁN Katalin in whose ceramic pictures the Unes form a kind of wall-paper of time, and time-and-space create romance. Frame and picture are burnt into an inseparable whole. Art = Life, she writes on one of her philosophizing ceramic sheets.-She does not want to separate her emotions and thoughts and she is more interested in the small matters of everyday life. The independent manifestations of material and the opportunities lying in it are preoccupations of several artists today. This applies to SZALAI László as well, who seeks to discover the aesthetic relationships between the various layers of day dipped into paint. The stepUke lined elements thus evolved have a strong material effect. Some years ago the artistic representation of processes has come into the foreground of activities. PROBSTNER János presents two moments of drawing. There is one pencil just in the process of drawing, and next there is the drawing itself completed. These are two images of a single process. In the works of LŐRINCZ Győző we may meet some postconceptual elements. In his work entitled "The career of Une" we may see the birth and evolution of Une, while elsewhere he expresses himself in conceptual serial works, like in the pyramids covered with apoUnear signs. Finally, THURY Levente calls our attention to the changing systems of Une in his series. He puts into a sequence the organic, spatial, time and social Unes. He also comments upon them. In the "time Une” e. g. he represents a mother, her mother, again her mother, going back by seven generations. Ultimately the long sequence of poetic Unes is dosed by a butterfly on the last picture. All contributors of the exhibition have identified themselves in good-humour and with obvious joy with the chosen subject, which in itself is a guarantee to the trend and message of their show. ATTALA! GÁBOR