Savaria - A Vas Megyei Múzeumok értesítője 13-14. (1979-1980) (Szombathely, 1984)

Gyógyszerésztörténet - Rádóczy Gyula: A XVIII. századi bécsi dispensatoriumok

Laky (USA), Veerle Rouquart and Marc Van Hoe (Belgium) — remained rather isolated. During the short time Gyöngy Laky spent at Velem she could not but make objects that can be done anywhere: two straw-^plaiitings and a lattice wonk of bast — none of (them too much influenced by the erviranment. The same stands for Marc Van Hoe, who, owing to lack of time, made some works of paper and a "Pile" similar to his well-known earlier works. Veerle Rouquart made mini-textiles ou| of twigs, gauze and silk made rigid and fixed with resin — they were maquettes reminding one of tents or sheds. In her works of a different type she creased wet white tulle veils, then flattened them out and fixed the creases with resin. Or with a sewing machine she made calligraphie lines on sheets of newspapers and hid her name between the Unes in several rows. Viewing the history of events at the workshop horizontally does not offer a very encouraging result. It seems as if

, as a result of great collective endeavours, a new language ("textile language") understood and accepted by everyone had been created but it was not used for what it had (been meant to be: for speaking. The picture is not so dark, though. The history of a genre — that of "textile art" — cannot be counted and reckoned in years. And, one gets a more couraging overall effect if considering individual endeavours and creative processes. Nearly the whole creative activity of four young artists is linked, more or less, with Velem. When observing the process of their creative work one gets to know an other aspect of the work done at Velem. They all participated in the workshop several times : Anikó Bajkó and Lujza Gecser four times, Csilla Kelecsényi three times, Gulyás Kati twice. The artistic programme of Anikó Bajkó is remarkably connected with the "liberation movement" of textile. Right after graduating from the Academy she won the first prize of the 1st Biennial of Industrial Textile with her printed curtains, then again she excelled at the 3rd Biennial of Wall and Space Textile in 1974. Her waU tapestry, "Lay-out" was made in 1975. The white non-figurative compositions of contrasting effects were handpainted and sprayed on a lustreless, non-transparent ground-coat. A part of its surface was covered with a transparent, semi-translucent foil which had "a window" out in it : through that you could see the other surface. This is the work where the ädea of tansparency appeared for the first time, where the positive-negative forms of Iblack-andwhite motifs were playfully arranged and the real imitated shades brilliantly executed. (111. 1:1.) Her first two years at Velem meant the completion of this idea. By placing several layers of material behind each other changed hand-painted, imitated three-dimensionality for the real one. When composing above each other layers of densely or loosely woven silk of intense or light colours, of differing transparency she created works based on the elements of real shades, transparency or non-transparency — they reminded of abstract paintings. In the following step the objects were placed in space and both their sides could be viewed. "As a 'picture', however, it includes a piece of its environment behind itself, since it is transparent — of course, only as far as the density of the material makes it possible. Beside being a 'picture' its function is that of a window, too : it is a colourful window (an enormous slide) you can look through, which appears as a source of light for the intérieur at daylight,* and for the exteriour in the case of artificial light."

11 — wrote László Веке in 1976. A. Bajkó 428