Kókay Krisztina (Esztergom, 2005)
MÁRIA HÚSZ Silence and the medium of creation (...) However far removed is the aversion to passion of 18th century aesthetics from Krisztina Kókay's works, the unaffected monumentality and laconic drama of the textile paintings, the sometimes gently and lyrically concealed and other times forcefully revealed world of the drawings, their psychological authenticity, still fills me with the complete certainty of classicism. (...)- Mute and disciplined, the lines have to express the inexpressible. The line is the means and the language of the basic compulsion to speak. Although I was going to become a painter and I love colors, I finally managed to find the form that allows me to do what I want to do. The length and strength of the line conveys the meaning. The strong voice within me can be heard silently without me. You don't have to shout, rather, you have to express yourself using a different power, softly but strikingly, like nobody else does. Like the way light travels (...)- Your lines are existing reality. They live and breathe right before our eyes. They have a beginning and an end, they do not cross each other, and they are individuals who link up with and respect each other. They are pure, strong and defenceless. How did your way of using lines and cells as building blocks develop?- My fascination with the structure of creation might have pushed me in this direction (...) We always want to tell the same about the same things; everybody does it their own way. I strive to be able to tell it simply. Silence is the medium of creation. As a child, I often sat by the Danube in Esztergom in the silence and watched the majestic and at the same time playful motion of the water. Noise oppresses our thoughts. A great noise doesn't let you hear what reaches from one person to the other. Keeping silent is just as important as speaking out. "It's not enough to keep silent. We have to know, with a deadly accuracy, what it is we keep silent about” - as Sándor Márai says. HUNGARIAN APPLIED ARTS, NO.4 1995, PP.42-43
