Ván Hajnalka (szerk.): Bepillantás a kintbe. Kolozsváry-Stupler Éva művészete - Munkácsy Mihály Múzeum Közleményei 9. (Békéscsaba, 2017)
Ván Hajnalka: Bepillatnás a kintbe
35 Self 1995 Mixed Media 29” x 14” x 10" and high spirits go hand in hand. This is a really prolific period for the artist, although abundance does not rule out immersion. She can find the essence among these themes as well. Parallel with the examples of applying an eye, we can also mention the work Gefilte Fish, 2004, which is named after a meal made for a Jewish holiday. Here, a photo of an eye is built in as the eye of the fish. Its reality is counterbalanced by the wooden base-form and plastic flies. Closing in, or being closed in, can be another approach to the concept of inside-outside. The question of where we are and from where we look is not a game, but an unambiguous situation. The pain of being closed in is presented from numerous points of view and in many layers of depth. It can happen due to external powers (Female Martyr, 2001; Let me out! 2012) or we can be closed in our own prison, which is the unavoidably of our destiny (One Way Out, 2001; Contemporary Reality, 2002; The Time of Your Life, 2003; Darwin’s Pet, 2004). In case of the Female Martyr, the scene composed into a dressing mirror refers to womanliness. However, the suspended martyr, placed into the drum of the object, does not treat of a titivating moment, but rather of defenselessness. The meaning of lost freedom is underlined by the classic symbol of pigeon figures fallen to the ground. The Female Martyr is closed in an outer space, which is represented by the framing object. In contrast, in the case of Darwin’s Pet, the body itself is the lockup. The body part seen here draws our attention to itself powerfully. The work comes to a point in the tongue placed in the reptile’s head. The scream-like expression returns in many works of the artist. The content of these express her visualizing the great number of physical pains she has experienced. In many cases, the works of Eva Kolosvary-Stupler are made with a therapeutic aim, just like many tribal art works, described as primitive art, wherein masks and statues have a spiritual function. The artist shows a preference for these pieces as well. When the artist herself talks about her works, further depths come to light, as well as the complexity of the artist, and the alternatives of approaches: “In case of One Way Out, everything that is inside comes out of the grinder and, in this way,
