Horváth László szobrászművész (Páka, 1995)

do not know if somebody has ever sized up what the intellectual nourishment, received from the master, meant for Csiky Tibor’s pupils, or rather how they followed his lead or in what respect they abandoned from it. But it is sure that they saved the love for metal, the artistic application of industrial technology, the strict and consequent contstruction, the geo­metric form of expression, the strong content concentration behind the formal puritanism and the obligatory validity of artistic elaboration of high level, the moral attitude towards the artistic product. But, in the end all of them refused the basically structural, abstract art reduced to crystal-clear primer forms of Csiky. We may say, they did not refuse but exceeded and developed it into an other direction. After a short experimentation, they turned into a more lyric geometric direction, combining the learnt things with the number of the emotional, sensational abstractions drawn from the everyday life. All of Csiky Tibor’s pupils, from the 80-es surely, render deep emotions, subjective contents into geometric statuesque form of expression, in which the messages are coded. From the struc­tural essence and qualitative features of the materials the artists utilize only that part which serves as an expression of personal content, the actual narrative content is practically covered by an objective form. Extremely engaging is this creative method, which builds with clear statuesque elements and natural surfaces or the effects of surface treatment, and works with competent utilization of different materials and technologies. From the representatives of this method out­­stands - with his best works - László Horváth. László Horváth extremely sensitively mixes the organic-associative effects of the rusty, unworked grain-surfaced metal and the lustrous, slim, angular - mostly chrome steel - elements. Most of his formations are triangles, crosses, ele­mentary forms, which protrude into the space stand out from the chaotic basis and force order on their environment, or methodize the given relations. He works in more artistic forms, the most sig­nificant are his statuettes and coins. The essence of his art is transubstantiation of the elementary form and the material, as a consequence of which we can find a metaforic message of the superiority of human intelligence, creative way of thinking, creative work, the necessity of value-creation. His art is characterized by deep humanism - seems strange, but - classical artistic behaviour, way of creation turning the tensions into a gentle harmony, though his form of expression is basically geometric. Astonishing is that lightness, how he implants his glossy, smooth, flat or angular forms in the rude, hard metal as a crystal. Like a revealed secred, an unknown layer comes into sight again and again on his works, which is covered by the actual figure, the fretted, moulded, painted, embrowned or the natural, rusty surface, and which is only indicated by the simple form. This repressed, fine moderation, lyric way of thinking, good sense of proportion, and the sculptural signs of universal validity altogether generate artistic forms, on which the element marking the natural manifestations of life, being barbarous in the constellation in his works is stuck, or which part from, stand out and rise above, appear from the rude original nature of unworked material. His works move us to silently meditate, to think about existence and the significance of human action.

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