Savaria - A Vas Megyei Múzeumok értesítője 13-14. (1979-1980) (Szombathely, 1984)
Gyógyszerésztörténet - Rádóczy Gyula: A XVIII. századi bécsi dispensatoriumok
solved the problem of artificial light by 1977 using thicker layers of sulk and a neontube built in the composition. Thus the picture got transilluminated, the inner and the outer lights multiplied the system of relations between shadow and transparency. Transparency is only the aestheticial side of the experiments and work done during these three years. In her application in 1975 she drew up the plan of a series of experiments parallel to this aesithetieal — and objectproducing — programme. (Щ. 12—13.) She planned to observe the mutual relation between matter — textile — and nature. What effects can the elements of nature like wind smog, water, fire or smoke have on textile? The "confrontational" experiments had been done during the first three years, photographs serving as documents of how muslin burnt, floated on water or reacted to chemicals. She had treated textile with chemicals even before, changing the fibrenstructure of silk with acetone and destructing it she produced a material of unusual beauty. She used materials treated like .this between the layers of translucent materials, too. Treating materials with chemicals is, after all, an industrial process, A. Bajlkó first used it (when preparing her diploma work in 1973. With an acetoned brush she made "negative painting'', the reverse of what can be produced with handpainting. In the silk with a changed and destructed fibre construction the features of transparency land reflection have also changed. But destruction, mutilitating the material of textile and the new, transferred material resulted in not only some consequences of usage, but also in a new idea. For an artist working with textile it is most important to know the material she employes, not only the obligatory essentials of technique, but also the sources and possibilities of usage and application etc. are to be known. The range of her knowledge got wider and wider validity. Destruction turned. A. Bajkó's attention to the personal features of the "history" of textile; it is made and used —that is what we know —but what comes then? She happened to find a scrapground for textile waste near Mohács which seemed to be a monumental cemetery for textile. There were large, smouldering, perishing piles of throw-outs, rags, factories' rejects and garbage. Here she found all those processes in reality, in practice that she had brought about in her experiments. As a result of this recognition her serial work "Stillfire" summing up the work done during three years at Velem was born. 12 All 'her previous experiences of form and technics were moulded into unity in this series where she used linen, acetateHsiik, vynil foil, fire, chemicals and drawings. The white linen covered with a graphic sereeins is cut open by fire. One the second plate a plastically applied, burnt piece of textile represents fire, on the next one the material comes to a similar end but here destruction is caused by chemicals and not by fire. The fourth plate is the unified and final form of what we had seen before. "The sequence itself is a series of paradoxes: the plane sections of a time process (build up by getting destructed. Texture getting more and more complex derives from a simpler and simpler structure — the complicated fibre system turns into ashes." 13 — wrote András Bán in his study. (Ills. 14—17.) The season at Velem in 1979 was the completion and topping of this programme. The task was to record the last phase, destruction in the personal history of itextile, to approadh, unfold and document the process. By means of archaeology, medicine, biology, physics and chemistry she observed .the process of annihilation and recorded it on photoes and tapes. The result is a rigid and exact documentation: oscillosoopic figures, archaeological drawings, photoes of 429
