György Albert (Bucuresti, 1984)
In early April this year when I had the chance to visit in Satu Mare the studio of the young sculptor György Albert I realized on the spot that I had the opportunity of a unique artistic experience. Though improvised in an old garage the studio was surprisingly tidy : nothing superfluous, no dusty corners and on high propped metal shelves a displey of small bronze cast works of art demonstrating an extreme skill for finishing. A 1973 graduate from the Institute of Fine Arts „Nicolae Grigorescu" in Bucharest György Albert has been drown to metal casting early and as a first proof of his talent stands his 1980 one — man exhibition at the Galateea — Gallery in Bucharest. By that time I had allready noticed his competence as a modeller, bronze, caster and first of all the young artist’s gift to evoke, but only when I visited his studio in Satu Mare did I wholly realise what amount of reserves he disposed of, how intense his thoughts were burning. Passionately fond of bronze György Albert had to rediscover on his own the technique of moulding in wax and to adapt it to his own possibilities. None the less he longed to know and master all work and finishing proceedings easily. Once a work of art gets final shape it has to be moulded in clay anticipating the end effect. That is with rough surfaces and the ones ready for polishing, with those as though „biten" by the roll - instrument, with compact or elongated volumes empty spots penetrating like open windows towards the disquieting heart of knowledge. After casting the bronze is worked on minutely, some surfaces being polished to perfection, others covered by patina through complicated techniques and with a precious effect. György Albert's latest exhibition reveals on the spot his skill in handling all technical means typical for bronze casting. But there's more. Though handicraft maturity and even perfection is essential for the birth of a genuine work of art, the ultimate condition for its existence in time is the ideatic richness, the originality of expression. Considering György Albert’s exhibition from this viewpoint it develops into a referrence moment of the present times. His works of art displey the richness of expressing means and at the same time the density of ideas and feelings. At first sight this years’ exhibition shows three distinct groups of works of art by the embodied idea and by the means of expressing it. The composition and modelling of the first group stands for evocation not without a slight comment, sometimes even a bitter one. The Centauress (Mythology), The Martyr, Meditation - with an interesting dual head, The Clown, Dying Horse, Superstar. The most valuable work belonging to this group is Melancholy looking with dead eyes into the immense inner void, lost in the uncontrolled space of the human personality. Specific to this group of works of art is a new interpretation given to the well known shape which can still be recognized, allthough the sculptor sets weight on the inward significance more than on the outward shape. The second group of works - a limited one — (Symbol - an abstract variant of Melancholy, Torso) makes the visitor aware of the last and most numerous group of works of art. These are more abstract. The communication possibilities of the material are used with courage. Evocation or even moralizing elements are still present, but no more anecdote. The sculptor creates shapes capable of expressing themselves. Fecundity and Time Tunnel still show slight conventional symbols, while Ideal Moment, Composition, Solar Eclipse, Self - Destruction give birth to and enforce a new way of understanding the universe of ideas around, create a lasting equivalent to the sculptor’s lucid way of feeling this universe. Absorbed in steady thoughts, a thorough handicraftman, sensitive and always searching György Albert is one of the strongest and most genuine young talents in our country. VASILE DRAGUT Bucharest, the 24th of June, 1984