Photo by Debora Smail
The PAST of an artwork begins with the inspiration. When the artist take up to collect information, impressions, he/she lets them flow in the mind untill they get rearranged in a new system. Then the artist has to solidify it in an artwork to be presented.
Another characteristic is how art-forms deal with PRESENT. I have been always fascinated by music. I admire musicians for their capacity to act in real time. If artisans, jewellers, make a mistake we have planty of time to fix it or if everything goes wrong, we just never show our work in public. Musicians, dancers on stage can’t afford this. A false note or a stumbling is disastrous..
As for their FUTURE, some artworks need more luck and care than an other to gain the desired eternity. A golden ring is more likely to survive some centuries under the ground, but without a care for it’s artistic value it can easily end up in a crucible as scrap gold.. The written notes of a song can burn in the first war that comes – but if the society cares, the song can live for centuries. Thus the future of artworks depends just as much on their medium as the care of the society inwhich they have been introduced and where they will end up later.
In my work I wanted to represent the delicacy and strength of artworks. Amber is a solid stone that once was a moving fluid, a defence of trees that often captured the struggle of animals for life. It is a great medium to represent the striving of art for eternity in it’s many different ways.
I WANT TO SAY SPECIAL THANKS FOR MY DEAR FRIEND, GREAT VIOLINIST: STEFANO PASTOR, WHO GAVE ME AN AMAZING CONSULTATION ON VIOLIN. I am proud to have such friends in my village.http://www.stefanopastor.com/
The PAST of an artwork begins with the inspiration. When the artist take up to collect information, impressions, he/she lets them flow in the mind untill they get rearranged in a new system. Then the artist has to solidify it in an artwork to be presented.
Another characteristic is how art-forms deal with PRESENT. I have been always fascinated by music. I admire musicians for their capacity to act in real time. If artisans, jewellers, make a mistake we have planty of time to fix it or if everything goes wrong, we just never show our work in public. Musicians, dancers on stage can’t afford this. A false note or a stumbling is disastrous..
As for their FUTURE, some artworks need more luck and care than an other to gain the desired eternity. A golden ring is more likely to survive some centuries under the ground, but without a care for it’s artistic value it can easily end up in a crucible as scrap gold.. The written notes of a song can burn in the first war that comes – but if the society cares, the song can live for centuries. Thus the future of artworks depends just as much on their medium as the care of the society inwhich they have been introduced and where they will end up later.
In my work I wanted to represent the delicacy and strength of artworks. Amber is a solid stone that once was a moving fluid, a defence of trees that often captured the struggle of animals for life. It is a great medium to represent the striving of art for eternity in it’s many different ways.
I WANT TO SAY SPECIAL THANKS FOR MY DEAR FRIEND, GREAT VIOLINIST: STEFANO PASTOR, WHO GAVE ME AN AMAZING CONSULTATION ON VIOLIN. I am proud to have such friends in my village.http://www.stefanopastor.com/
I was inspired by rose windows and by Japanese tsubas. I always loved the way how Japanese metalsith play with the relation of highly detailed and plain/rough surfaces. It is a game of generosity and being mean in the same time.
It is a combination of my iron Magnetic Fieldwork line and the “Every Bloody Cloud Should Have a Silver Lining” ring – but in 18 karat gold.
I received 3 palm size, very dirty pieces and made my experiments with them, finally I decided the design.
SO… I made this sterling pendant that you can fill up with the Zsolnay ceramic tiles. You’ve got the choice of 4 coloures, you’ve got 8-8 square tiles and there are also 2 triangles. In the future I plan to make some additional fillings too. You slide the tiles into the frame and then you pull the black leather string thight that closes the top.
I asked my mathematician brother how many combinations can one create with this setup. He made some quick calculations and the result is:
If you use all 4 coloures, both the triangles and the square tiles you can make 983040 (!!!!!!!!!!!!!!!!) different pendants (including that on the back side you have the “opposite” combination)
Let’s say that I would sell this jewel for 300 money (have not decided yet). It means that for this price you have 983040 pendants, so you only pay 0.00030517578 money for one pendant. It is practicly free!! Don’t miss this occasion!!
One more reason to buy it: If you wear every day a different combination, you will be more than 2693 years old when you finish it – and by that time you can update the coulours and shapes to extend it by a couple of thousand years.
I received 3 palm size, very dirty pieces and made my experiments with them, finally I decided the design.
SO… I made this sterling pendant that you can fill up with the Zsolnay ceramic tiles. You’ve got the choice of 4 coloures, you’ve got 8-8 square tiles and there are also 2 triangles. In the future I plan to make some additional fillings too. You slide the tiles into the frame and then you pull the black leather string thight that closes the top.
I asked my mathematician brother how many combinations can one create with this setup. He made some quick calculations and the result is:
If you use all 4 coloures, both the triangles and the square tiles you can make 983040 (!!!!!!!!!!!!!!!!) different pendants (including that on the back side you have the “opposite” combination)
Let’s say that I would sell this jewel for 300 money (have not decided yet). It means that for this price you have 983040 pendants, so you only pay 0.00030517578 money for one pendant. It is practicly free!! Don’t miss this occasion!!
One more reason to buy it: If you wear every day a different combination, you will be more than 2693 years old when you finish it – and by that time you can update the coulours and shapes to extend it by a couple of thousand years.
When I make jewellery I often work for an imaginary person. Sometimes it is a gorgeous girl, a charming woman, an old man or a sullen guy. Creating this piece I thought of a tough chap with a lot of moxie, coolest boy of the village who can’t wait the weekend to dress up in his provincially modern rig-out. He goes to the local community center’s discotheque with the commitment that he will fuck all the girls or at least one but that one thoroughly. If somebody crosses his way he is even ready to fight back with his small, pointy fists.
This object refers to some Hungarian folk traditions that I tried to picture on the mood board.
Plexi, iron, brass, silver, nail varnish.
The piece is at the Ezüstláz Galleria in Pécs
HMCS övékszer
Amikor ékszert készítek, gyakran egy elkpzelt személynek dolgozom. Ez néha egy gyönyörű lány, néha egy bájos asszony, egy bácsi, vagy egy dacos férfi. Ennél a darabnál egy hmcs-re gondoltam, egy diszkós fiúra, aki hétvégén felveszi a tanyasiasan modern cuccait és azzal az elszántsággal indul a művházba, hogy mindenkit jól megbasz, de legalább egyvalakit nagyon. Ha az útjába állnak, készen áll a küzdelemre, apró, hegyes ökleivel beboxol. A tárgy utal a mézeskalácsra, a betyár rézfokosra, a kakasos nyalókára, a tarsolylemezre, és sokminden másra. És mindezek talán pont kicsit a mi mindenkori Helyi Menő Csávó hősünkre utalnak.
Plexi, vas, sárgaréz, ezüst, körömlakk
A darab megtekinthető az Ezűstláz Galériában Pécsett
When I make jewellery I often work for an imaginary person. Sometimes it is a gorgeous girl, a charming woman, an old man or a sullen guy. Creating this piece I thought of a tough chap with a lot of moxie, coolest boy of the village who can’t wait the weekend to dress up in his provincially modern rig-out. He goes to the local community center’s discotheque with the commitment that he will fuck all the girls or at least one but that one thoroughly. If somebody crosses his way he is even ready to fight back with his small, pointy fists.
This object refers to some Hungarian folk traditions that I tried to picture on the mood board.
Plexi, iron, brass, silver, nail varnish.
The piece is at the Ezüstláz Galleria in Pécs
HMCS övékszer
Amikor ékszert készítek, gyakran egy elkpzelt személynek dolgozom. Ez néha egy gyönyörű lány, néha egy bájos asszony, egy bácsi, vagy egy dacos férfi. Ennél a darabnál egy hmcs-re gondoltam, egy diszkós fiúra, aki hétvégén felveszi a tanyasiasan modern cuccait és azzal az elszántsággal indul a művházba, hogy mindenkit jól megbasz, de legalább egyvalakit nagyon. Ha az útjába állnak, készen áll a küzdelemre, apró, hegyes ökleivel beboxol. A tárgy utal a mézeskalácsra, a betyár rézfokosra, a kakasos nyalókára, a tarsolylemezre, és sokminden másra. És mindezek talán pont kicsit a mi mindenkori Helyi Menő Csávó hősünkre utalnak.
Plexi, vas, sárgaréz, ezüst, körömlakk
A darab megtekinthető az Ezűstláz Galériában Pécsett
You throw your blunt wooden sword into the dunghill, and you think over it all again: “How should I have loved such a lady, how should I had been so sure in all. How could I be sure in ANYTHING? How did I love such a Lord who buggered most of it – deeply, with intense motions from his hip?” You think the innocent ones you knocked down with your sword. Your hands no longer clench together in prayer, they don’t grab hilt they do not hug – they just hang helplessly and tremble. That’s the moment when you want to hook your thumb on the Wannabe Knight belt jewel to pretend a confident position.
You throw your blunt wooden sword into the dunghill, and you think over it all again: “How should I have loved such a lady, how should I had been so sure in all. How could I be sure in ANYTHING? How did I love such a Lord who buggered most of it – deeply, with intense motions from his hip?” You think the innocent ones you knocked down with your sword. Your hands no longer clench together in prayer, they don’t grab hilt they do not hug – they just hang helplessly and tremble. That’s the moment when you want to hook your thumb on the Wannabe Knight belt jewel to pretend a confident position.
You throw your blunt wooden sword into the dunghill, and you think over it all again: “How should I have loved such a lady, how should I had been so sure in all. How could I be sure in ANYTHING? How did I love such a Lord who buggered most of it – deeply, with intense motions from his hip?” You think the innocent ones you knocked down with your sword. Your hands no longer clench together in prayer, they don’t grab hilt they do not hug – they just hang helplessly and tremble. That’s the moment when you want to hook your thumb on the Wannabe Knight belt jewel to pretend a confident position.
I truly belive that the most noble, beautiful and intimate human interaction is the argument. It is not about convincing the other about our oppinion, it’s not jarring, it is about finding out the truth together. It is about measuring our models of the world. You have to be the advocate of the devil and the prosecutor too. I dedicated this tiny monument-pendant to this statement. It is inspired by a dove-tail joint as it is known in woodwork.
Iron, copper, silver. The copper inlays go through the iron so they are basically rivets. The “MMXX” is 2020 in Roman numbers.