Saly Noémi (szerk.): Gorka Lívia keramikusművész (Budapest, 2010)
Kollin András: Bibliográfia
Words of Welcome Lívia Gorka was from the nineteen fifties and for the following four decades one of the most determinative artists of modern Hungarian ceramic art. Despite the fact that her art and view on life brought fresh colour to modern Hungarian ceramic art, and her works are now among the favourites of art dealers, very little has been published about her work until now. A career as an artist was partly an obvious course, her father, Géra Gorka was one of the leading masters of modern Hungarian ceramics, and beside whom it was not difficult to gain a sound base of professional knowledge. But while her father viewed pottery as the basis of his art, Lívia Gorka created her works in a much more complex fashion, experimenting with materials and techniques, and forever endeavouring to find and achieve something new. The collision of their diverse artistic approaches, their strong personalities and differing demeanours had a positive effect on her career. Early in her career she broke with traditional, folkrooted ceramics and the constraints of the potter's craft, choosing instead to build her objects by hand, so creating unique, individual works of art. In contrast to the mass-produced arts and crafts products generally available in the 1950’s and 60’s, she experimented with unique glazes and techniques from the very beginning. She quickly developed her own unique style, which made her objects immediately recognisable both at home and abroad. She of course had to contend with professional and personal jealously, made stronger by the fact that she was unwilling to "stand in line", always preferring to travel her own path. Of course, in addition to knowledge and talent, this could not have come about were it not for the amazing strength and willpower with which she made her craft into her way of life with the greatest humility. By the mid-sixties her experiments with materials and forms had surpassed the usual borders of ceramic art. Her experiments with rock-clay and chamot, fired at high temperatures and combined with various colorants, also sparked great interest in her abroad. These works already included the experiences gained on field trips to the West and the Far East, an inspiration that accompanied her throughout her career. From the seventies she began to create primarily statuettes and unique works of art, and these pieces - although their basic material remains clay - fall more closely into the category of sculptures. These are mature, unmistakable pieces, a worthy crown for her life's work. The works of a fully-fledged artist, which bear on them her whole intellectual spirit and way of thinking, and also a message: the love of freedom. Since her final individual exhibition at the Vigadó Gallery in 1987, her works have not been shown to the general public and she lives in retreat with her husband in a peaceful little village in the hills north of Lake Balaton, practically forgotten by both the art world and the public. Although her works can be found hidden in several collections both at home and abroad, and an army of art collectors fight for the occasional unique piece, she and her distinctive life's work are shrouded in complete silence. We now endeavour to present the life's work and career of this exemplary Artist, who celebrated her 85th birthday earlier this year. We have striven to display worthy examples from every period of her artistic activities and using original photographs and newspaper articles to introduce not only the artist, but also the era in which she worked, within the context of which the real greatness and significance of her role may truly be appreciated. It is also with this Exhibition, organised by the Hungarian Museum of Trade and Tourism, that we salute her on the occasion of her birthday. Many Happy Returns! András Kollin 29 i
