Fibres in my products, or in any other cloths, are there with us throughout our lives, from birth to the grave, covering us and clothing us. Also, within us are the fibres of the tissues in our bodies, building up and maintaining our muscles, blood vessels and organs. In a medical operation our skin has to be cut, then sewn together again, like a fabric, and the fibre that is common in all of us, is given a new meaning, depending on the hand that touches the fibre. Also, the clothing or tapestry we make with our hands carries our thoughts and expresses our mind. Man saw colours in nature first, and the ability to see colours is also nature's miracle. Forming the rhythm of different colours, shades and forms is fascinating. Rhythm (just like fibre) is there in all forms of life and connects them with the Universe. When we see dancers, we can observe that the foot, the hand, the head, the hip moves in geometric lines, curves, triangles, circles and ovals. These geometric forms coincide with the geometry of music, and the relationship can always be expressed in figures. These figures are the same whenever our dancer is dancing, or when a bird is singing, or when a plant is growing, according to a specific system of numbers that prevails in the universal primordial numerology. For the world is not a coincidental, disorderly formation, but an intelligent creation that was brought about with awareness and orderly discipline. This order, even if somewhat strict, never harms life, for it stands for freedom, not for forceful constraint or restriction. This geometry opens the way for the basic symbols for the order of existence. Everything that is exact prevails over chaos. We are doomed when disorder is stronger than order. Order is not machine-like, but flows like a dance, as the movement of the soul is never machine-like but rhythmical. In the name of this rhythm function winter and summer, right and left up and down, day and night. I have tried fibres and yarns of different types, qualities and thickness, and different weaving techniques in order to produce different surfaces that are pleasant to the touch and pleasing to the eye. Of course, if we touch something, we'll get to know the surface's roughness, smoothness, temperature, whether it is dry or wet, pulsating or tranquil, whether it lets my finger in or it is tough, protected by its surface – what is it like indeed? But if we don' t touch it, we'll never know!! So instead of the usual notice “Don't touch”, these tapestries should have by them: “Important to touch”.
E-mail Visitors' bookStudies : 1997-8 National Gobelin Manufacture, Paris Exhibitions : 2013 De fil en fil en pays de Chabeuil - Temple de Chateaudouble (26) 2012 Fiber art from Asia and Europe, Janina Monkute Marks Museum, Kedainiai (Lithuania) 2011 Web of Europe, Musées Royaux d'Art et d'Histoire, Brussels (Belgique) 2010 William and Joseph Gallery, Santa Fe, New Mexico, (USA) 2009 Artextures, Ste-Marie-aux-Mines (France) 2008 Teco Plaza, Art Gallery - Tampa, Florida (USA) 2007 Center Exposure Bay-Saint-Paul - Quebec (Canda) 2006 Textilemuseum, ST. Gallen (Switzerland) 2005 Mini Textile Tri-annual, Angers (France) 2004 Cellar Gallery, Chateaux –Thierry (France) 2003 Carpet Tri-annual , Szombathely (Hungary) 2002 Perrin Gallery , Aubusson (France) 2001 Museum of Fine Arts, Budapest (Hungary) 2000 Autumn Salon, Paris (France) 1999 Ministry of Economics, Paris. (France) 1998 Miniartextil, Como (Italy) Awards, acquisitions: 2009 Exhibition Artextures : Price France Patchwork Exhibition Couleurs d'un Pays : Price France Patchwork 2008 Acquisition de la Sous-Préfecture Aubusson 2007 Colection du Museum Jean Lurçat and of the contemporary tapestry of Angers Works in the particular collections in Hungary and France
Publication: Le Figaro Magazine 7 février 2014 Les Nouvelles du Patchwork 2009 no.103 Szinfolt 2009 Dossier de presse du 1999 au 2008 Catalogues du 2000 au 2009
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