[Ceramic + Porcelain ]
Item Number:B114982008, colored clay,glazed
H 24 1/2 W 16 1/2 D 19 inches
H62 W42 D48 cm
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Agnes Husz1961 Born in Mohacs, Hungary
1991 Moholy-Nagy University of Arts and Design Buddapest, Master Degree
From 1993 living and working in Japan
2013 Selected as a member of International Academy of Ceramics
Musee de la Ceramique /Vallauris, France
Shigaraki Ceramic Park,
The Shigaraki Prefectural Museum of Contemporary Art /Shigaraki, Japan
15th of May Contemporary Art Museum /Cairo,Egypt
European Ceramik Work Centre /s'Hertogenbosch,Holland
Kecskemet International Ceramic Sudio /Kecskemet,Hungary
Janus Pannonius Museum
The Spiral Works of Agnes Husz
Born in Hungary, Agnes Husz has been working as a ceramic artist in Japan for the last twenty years. She is fascinated by spiral shapes and says that 'they seem to draw you in, they represent restraint and release, allowing us to experience the centrifugal and centripetal force, contained within the enormity of the universe and the power of life.' She introduces colored clay into the minute striations formed by stretching a piece of clay from both ends, creating a fabric-like texture when the work is fired that resembles the obi (sash) of a Japanese kimono or the paper used in origami and making us want to reach out and touch it.
" When I think of the major events in my life that influenced the basic of my work was between 1991-1993 .In these years I spend time on my Master's Degree, working in Kecskemet (ICSHU) and Siklos in Hungary's Ceramic Studios at International Workshops, my journey to Japan, and to the EKWC in Holland .
These events helped establish the pith of my work, its actual characteristics.
Of these events, the most important was the three month stay working in Holland at the European Ceramic Work Centre (EKWC) in 1993.
There, with my curved and rolling ribbons of clay, my new, Eastern European-Asian self was born.
At that time, I had begun making spiral objects created out of wide, flat clay ribbons; from small objects to objects of a very large dimension often measuring over one meter.
When I began to develop, and expand this idea, I put aside all other experiments at the time and devoted myself to the snail's curved world. This unique way of creating shapes opened up a marvelous power to me, and that finally helped me to define myself and give a special sense of esthetic to my objects.
It's like a painter's touch: it's the way that I express myself.
Whirls, bandaged shapes, spirals hanging on one to the other. They all are implying the motion of bounding and unbounding, the circling motion of drawing in and swinging out. By these contrasts, I'm reflecting over never-ending motion, over circumvolution of living, over infinity, over nature.
Perhaps, that is what I was given in Japan: Philosophy of a cosmic nature."