Saly Noémi (szerk.): Gorka Lívia keramikusművész (Budapest, 2010)
Kollin András: Bibliográfia
. 23 Gorka Lívia: Önmagámról - ("Something of Myself") In: Három generáció ("Three Genertions"). 12. 24 At the exhibition organised by the Académie Internationale de la Céramique - the AIC - Italian, Finnish, [apanese, Soviet, Norwegian, Polish, Czech, Greek, German, Cuban and American ceramic artists displayed their latest works. 25 Ungarische Künstler der Gegenwart. Neue Galerie der Stadt, Linz, 1964. The Foreword to the exhibition catalogue was written by György Domanovszky. 26H. Lange: Ungarische Kunst der Gegenwart. Oberösterreichische Nachrichten, January 25th, 1964. 27 Une céramiste attachante: Lívia Gorka. Gazette de Lausanne, December 11,1964; Gorka Lívia ja hänen lintusa. Uusi Suomi, August 21, 1965. 28 Máté Major’s opening speech was published in the periodical Építőművészet ('Architectural Art”) (1964). Géza Perneczky wrote a review of the exhibition with the title "Lívia Gorka’s new ceramics at the Csók Gallery” in the May 15, 1964 edition of the daily paper N épszabadság. An earlier critic of hers, György Domanovszky, published an analysis of her newest works entitled "Lívia Gorka’s ceramics exhibition at the Csók Gallery” (Magyar Nemzet, May 8, 1964). 29Vaza, "Vase", 1963, Iparművészeti Múzeum Reg. No.: 67.139.1 30 Following her performance in Linz and Graz, critics at home and abroad increasingly began referring to her works as sculpture. "Lívia Gorka's ceramics is not in fact »applied ark. It is Art! Sculpture, if you prefer." Ákos Koczogh: Gorka Lívia kiállításán, »On Lívia Gorka's Exhibition«. Művészet, 1964. 10. 41-42. Koczogh approaches the question from the "different nature” of the "function" of ceramics and sculpture. He determines that Lívia Gorka's new ceramic works have no functional role; they are primarily items of beauty to be used very rarely as actual vases or bowls. He emphasises the use of copper and iron as decorative elements. He uses the term sculpture to describe her grouped Vízhordók "Vlater-bearers", Danaidák "Danaids", the "shivering" birds and ”cylinders reminiscent of the loneliness of deep sea corals". Koczogh sought and found sculpture in the tools and techniques used for her works, whereas Lívia Gorka's works are set apart from the tradition ceramics of applied art by precisely the artistic approach and unrepeatable, uniquely intellectual and aesthetic mode of expression. In György Domanovszky’s words: ”The work of Lívia Gorka, starting out from his \Géza Gorka's] art, but having years ago broken with and greatly distanced itself from it, are the offspring of a totally different vision of form. Géza Gorka's pots grew from a more traditional vision of form and show a certain picturesque quality, as opposed to Livia Gorka' pronouncedly sculptural endeavours, in which colour has a strongly inferior role." György Domanovszky: Hol tart ma a magyar kerámiaművészet?, "The state of Hungarian Ceramic Art Today”, Művészet, 1970. XL 2. 22. 31 Borsos Miklós: on Lívia Gorka. Foreword to exhibition catalogue. Lívia Gorka Exhibition, Veszprém, Keszthely, 1965. 32Borsos Miklós: on Lívia Gorka. Lívia Gorka Exhibition, Veszprém, Keszthely, 1965. Foreword to catalogue. 33 L. Gorka L: Önmagámról ("Something of Myself"), do. 12. 34L. Gorka L: Önmagámról ("Something of Myself”), do. 13. 35 Lívia Gorka: Vallomás - (A Confession"). In: Rozália Nagy Urbán, Lívia Gorka. Kiadó, Műterem Sorozat, 1979, 43 36Hedvig N. Dvorszky: Lívia Gorka. Művészet, 1973. XIV 3. 35-36. 37 ”Vm fond of natural materials. I form all of my latest works from chamot clay, or build them into vases and sculptures by folding flat sheets and layering them on top of each other. 1 prefer if the decoration doesn't give the effect of something unnatural and so I don't cover or hide the basic material. In the case of my floor vases, the play of the lines where the sheets meet and connect is the decoration." She has always stated that the decorative glaze and the form should create a unified whole, evolving together during modelling and firing. The simple, clean style of form and colour of her pieces are a direct result of the unification of decoration, form and function. It is for precisely this reason that the decorations and surfaces of her bowls create an archaic feeling. What Géza Gorka often stressed is true of her works also: "One should be able to recognise the master from lust a fragment of the object". 38 "The material of her bowls, vases, candle-holders, wall paintings and bird figures, all of which are made using fired chamot and 46
