Szanyi Borbála: Silent days June 04, 2014 - July 12, 2014

First time this year, once again, sculpture occupy the space of Várfok Project Room. On the exhibition entitled Silent Days the audience may meet the metal tub-art of Borbála Szanyi that can even be interpreted as a personal confession of the artist herself.

Borbála Szanyi was born in 1979 in Miskolc. She acquired her diploma in 2008 on the Hungarian University of Fine Arts; her masters included Zoltán Karmó and György Jovánovics. The works of the young artist was already nominated with numerous awards, such as the OMDK Sculptor’s First Prize in 2003. The same year she had the opportunity to travel to Paris after winning the Ludwig-Scholarship, later in 2008, with the Kogart Contemporary Art Collection’s Scholarship she moved to study in Italy. In 2014 she received the Mazsaroff Miklós prize and in 2013 and 2014 the Derkovits-scholarship.

Two of the sculptures exhibited in the Várfok Poject Room were recently also displayed in one of Budapest’s utmost prestigious venues, the Kunshalle, in the framework of the group exhibition of Derkovits and Pécsi award winner artists. However the personal atmosphere of the metal tubs may gain more space in the smaller, more intimate space of the Project Room.

“Silent Days – the moments of elaboration and truly facing ourselves, when after a tide turning life situation we feel the need for casting an account.  The introspection is at the same time a process of cleansing without any external help, excuse or even subterfuge.

The exhibited tubs evoke this cleansing process, through the ritual of dipping into water. The unordinary positions of the sculptures in a sensitive equilibrium and together with the various amounts of remaining mirror-like surfaces of water are the representatives of life situations, human life-periods and symbolic carriers of the changeableness of our states of mind.

The water, through its clean and constant surface is suitable for analysing ourselves with harsh thoroughness. However, behind our very own mirror image, the intangible sky is also portrayed on the surface, in which, a bit of the transcendental is also surfacing.

The fine lace motifs, appearing on the surface of the tubs are imprints of time. The loving care and memory of our elders and our spiritual heritage erodes like fragments of memory in the archaic tube-forms with their personal, portrait-like character. The female presence, and traditions summoned by the lace, woven the hard surface of iron sheets with such sensuality and naturality like a forgotten piece textile could leave a trace.”

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