Saly Noémi (szerk.): Gorka Lívia keramikusművész (Budapest, 2010)
Kollin András: Bibliográfia
! the fulfilment of her path towards individual art and artistic creation [Cat.: 91). Lívia Gorka exhibited the above-mentioned birds and female figures, as well as large wall paintings and sculptures concerned with the creation of matter and the universe [Cat.: 95]. The tall, thin sculptures of the cycle entitled Az elhagyott falu ("The Deserted Village'') stood in groups like the shapes of organ-pipes from Badacsony, or wind-blown women awaiting their husbands on unknown shores |Cat.: 103]. The simply formed, puritanical looking, shrivelled, stylised female figures of the sculptures of The Deserted Village bore a message which was completely different to that of the girl and women figures of Margit Kovács (Öregasszonyok, "Old Women'', chamotclay, 1970 |Cat.: 104-107|).41 The wall paintings of the Deserted Village cycle, which took part in the exhibition, exuded an intonation of lyricism, and often of incredible tension. With an informal simplicity similar to that of artist János Tornyai 's landscapes of the Alföld, her ceramic paintings depicted the mood of the landscape and villages of Balaton, with one or two details of the houses, a window here and a door there (Kapu, "Gate" [Cat.: 94|).42 Her works portraying her philosophical thoughts concerning the creation of life and the unceasing rebirth and renewal of nature represented a totally new artistic approach. The question of the parts and the whole, the divisible and indivisible, now appear in her art as the theme and issue of the highest possible level of creation. The spherically shaped bodies and splitting formations lay before us the creation of life and the universe in the form of metaphysical reflection. She regards and handles her materials as the organic, living material of the nascent world (Androméda "Andromeda", chamot with Manganese, 1972 (Cat.: 92|; Napkelte "Sunrise", chamot clay, 1972). The "Earth" (Föld), with its surface constantly moving and transforming, smoulders and forms itself at the moment of cooling [Cat.: 109|. Her different sized and shaped statues entitled Csíra ("Sprouting Seed") and Csiga ("Snail") depict the creation of organic life as the continuous, repeated renewal of nature (Csíra, "Sprouting Seed", chamot clay, 1970-72; Csiga, "Snail", chamot clay, 1972). Her works, artistic approach, path finding and responses show analogous traits with the art of Miklós Borsos. Lívia Gorka's eggshaped piece entitled Mag ("Seed" or "Nucleus"), reminds us of Borsos’s famous sculpture which serves as the country's zero milestone at Adam Clark square on the banks of the Danube in Budapest. Her abstract, diving or soaring bird statues, which concentrate in their appearance on the most relevant movements, appear as an expression of her own personal artistic bearing and ambitions (Szárnyak, "Wings", chamot clay, 1972). In 1977 another exhibition of her work opened at the Műcsarnok. She once again opened a new era in her art. It was as if the closing statement of a review of her 1973 exhibition rang true in the case of all of her previous works, she had surpassed her "stronger than ever before" self.43 Her art is full of increasingly abstract and abstracted marks and symbols, and only very few of her works repeat her earlier subjects (e.g. Három nő, "Three Women", chamot clay, 1974 [Cat.: 99-1011; Paraszt madonna, "Peasant Madonna", chamot clay, 1974 (Cat.: 98]). And her artistic style moves distinctly closer to the expressive method of reflection. [Cat.: 1081 - This penultimate period of her work (1972-1977) shows her process of development to the greatest extent, the path from clay to the expression of thought and feelings. It is the process of development and artistic maturing which lead her back from the experiments with materials and the experimental observation of nature to the definition of the surrounding and interior world and to individual sculptural works. In order to fully understand the phenomena, she simultaneously explored the changes that occurred in nature and took over the control of the artistic-creative processes. Harmony, the relationship between the secrets of the universe and the microcosmic, the old religions and wisdoms dictate her art. She no longer copies the movements and changes she has seen and observed in nature, she increasingly accomplishes real, artistic creation (Kátyú, "Pot-hole", chamot clay, ca. 1977-78 [Cat.: 124]). She creates her art with passion and is constantly immersed in the production of newer and newer works. The long-studied issue of the relationship between the parts and the whole appear in her works bound to the question of the moment of creation. On the other hand, 42
