The ideal of sculpture, marble and light

In addition to the characteristic translucent and breath-taking porcelain sculptures of Teréz Borza, the works of handmade paper with a rustic texture and public sculptures made of timeless stone – Carrara marble, Indian granite and baking limestone – have been a defining part of his oeuvre. The artist committed himself to porcelain from an early age: he experimented for a long time in his own workshop, until he even reached the transparent-thin shell that has become his trademark.

Layering and thinning is done by hand, and the clean, white surfaces are often enriched with a fine pattern by pressing paper, textile or rice grains into the still-soft porcelain (corrugated), which disappears during firing in the high-fire oven, leaving a translucent mark. . By applying this ancient Chinese method, you can capture and even raise the light as one of the defining themes of your works.

– writes the Art Gallery in its press release.

Master of various materials

“In the work of Teréz Borza, the plastic grasp of the phenomenon of light and the transparency achieved with various materials are closely connected with the transcendent layers of meaning. Several of his works display specific sacred content, and in two of his exhibitions he presented a selection of his works with a specific religious theme: in 2009 at the Hegyvidék Gallery The joy of faith and later in the exhibition hall of the Vigadó a The secret of Easter The theme of the largest celebration of Christianity, Easter, was. ”

In the art of Teréz Borza, a sensitive display of the plastic idea of ​​plant vegetation and natural phenomena can be observed from the beginning of the eighties, which was also reflected in his works in his first large-scale solo exhibition. At an exhibition held in 1986 at the Ernst Museum, he presented his wavy and gradually thinning porcelain, which consisted of perforated petals, evoking unfolding flower cups (Flower, Flowering) and Hommage à Debussy series.

His next major solo exhibition in 1996, Spring holiday directed at the Vigadó Gallery. Here, Teréz Borza installed her snow-white porcelain objects on a green lawn and on filigree metal rods tilting in several directions. In addition to the works that reflect the revival and the internal order of nature, that breathes deeply together with nature, the successive and often – everyday – states of human existence and the phases of change of the soul (Dream, Awakening) have become a plastic reality.

The porcelain artist began working with a new material, a self-made handmade paper pulp, in the late 1990s, and Rebirth In addition to his porcelain, he also exhibited some of his paperwork in the world of organic design (Birth, Rebirth), in which the artist applied a mesh-like palm skin to transmit light. With their shape evoking an eggshell or nest and their address (It broke, He flew out, Abandoned nest) also refer to the hatching of chicks and, in a figurative sense, to the duality of origin and passing.

The artist has long been preoccupied with the idea of ​​how to translate the essential features of his porcelain works (airiness, transparency, delicacy) into a more durable, heavier and more brittle material.

He found the rock in the white Carrara marble

with which, with proper machining, it was able to achieve a similar effect as in the case of porcelain material.

The light that comes in contact with plastic works and turns into ethereal brilliance lends an ideological message to the works of Teréz Borza and places them in a higher range of values, crossing the line between fine arts and applied arts.

(Cover image: Art Gallery)

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