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

Gyógyszerésztörténet - Rádóczy Gyula: A XVIII. századi bécsi dispensatoriumok

burning, petering out pieces of textile and their ashes, the rustling and crackling voices of usage (rustling clothes), of destruction (e.g. burning), chemical analysis, etc.; a perfect death certificate. {Ills. 18—21.) Seemingly the activities of Lujza Gecser at Velem are not so rectilinear. But it is only the surface. Already in the beginning of the seventies she was one of the most important personalities of the movement striving for the creation of three-dimensional textiles. In 1972 her „Zygota",«in 1974 „Two minutes" — the freely hanging jungles iof hemp and sysal were the most progressive crea^ tions at .^e Biennials. Her first work made at Velem, "The Bridges" — as mentioned before — were awarded the first prize by the jury of the 4th Textile Biennial in 1976 in appreciation of the most palpable realization of the idea of spacetextile. (Ills. 22—23.) But "The Bridges" beside being the peak in the process of creating spacetextile did, at the same time imply the end and termination of this experimental path. (111. 24.) The wor

/кв of L. Gecser at Velem in 1976 were no longer concerned with shaping the space, she searched the structure and behaviour of the maiterial. She treated sysal now with plaster, making it rigid. The fibre structure did not suffer any perceivable changes, but the softness and flexibility of sysal changed. This textile no longer behaved as textile — even if structurally it seemed so — but it stiffened into a rigid fibre^lastics of constant form. The first example of this way of expression is the series "Textiles from Velem 1976". The two methods of treating the material here are united: dyed bunches of sysal made rigid with plaster are hung on dyed (lilac, blue and strawberry-red) bundles of sysal «that fall freely in horizontal and vertical formations. In the next phase the "rigid textiles" were used independently. Hooks and „ribbons" of (variegated forms, arches and bubbles ocmtraldictiing their original haviour floated freely, suspended at some points. This technical approach may seem rather eanth-toound, but these works are playful and poetic monuments of textile, these bundles bouncing, twisting and vaulting to the natural choreography of ithe wind are the recordings of passingHby time segments. Snapshots. After plaster she used resin for making textile rigid, which also had a more favourable effect on oolours. "The use of resin has incidentally presented an opportunity for a (thorough reconsideration of the definition 'textile'. A paradigmatic series (consisting of objects suspended from the ceiling, placed on the floor etc.) came into being, with unorganized and colourless bundles of natural thread at one end, stiff coloured forms in the centre and a .transparent, crystalline block of resin (with or without a single sysal thread) at the other end. With the aid of this example it became possible to abolish the boundary line between so-Jteraned textile (natural materials) and non-textiles (synthetic, although natural looknig plastics."

14 (111. 25.) The work she carried «out at the Tisza Chemical Works offered her the possibility of completing, and at the same time, the crowning of this process of examining structure and form. "I placed damasik threads in milk containers and poured resin on top. The threads absorbed the liquid but in the middle where the container was bent, the material gathered together and folded into creases. ... The moment is the most essential factor with these sythetics. They stretch, tear, stretch, stabilize, are heated and shrivel up."

15 The result is an ensemble of very aesthetioal, sparkling and glittering or lustreless amorphous objects that record "textile features" only on the level of quotations. One of the chains of 430