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

Gyógyszerésztörténet - Rádóczy Gyula: A XVIII. századi bécsi dispensatoriumok

thoughts — the idea that textile as a material can be substituted and exchanged — extricated from "Bridges" has been perfectly drewn up. (Ш. 26—27.) Besides experiments with the usage of sythetics, the other line implicit in "The Bridges", a range of problems corcerning space and its shaping remained open. The problem of space came to form the centre of L. Geeser's interest througih several side-channels. The (multiplied reflection in (the space created by projecting on each other the colour slides taken of her sythetdcs made at Kőszeg attracted her attention. "I intend to construct some undefinaible space which can be achieved by using objects that are treated as fictive — by arranging, turning, projecting etc. them."

16 — she wrote in her application in 1979. She used unusual — if thinking of textile — materials : glass, cellophane, aluminium foil, mirror and silver paint sprayed. Expressedly as a preparation for a wank to be done later she observed the relation between materials and their real and illusory potentialities of Shaping the space. As a result her activities in 1979 were to be evaluated but as possibilities, as a start. "... she has come to a new period, and there is something of the eighties in her barren, more rustic way of composing her objects, in the selection of media and in her attitude and air."

17 — Márta Kovalavszky wrote about her. In December 1979 the new space construction was presented in a more apprehensible and amenable way in the Cultural Centre of Budaörs. The light rays of an ever-Trunning film were projected on a narrow space with places of differing transparency-translucency-non-Jtransiparency constructed from glass plates sprayed with silver paint, mirrors and stripes of cellophane. The hardly discernible film (which was rather of a light-effect) seemed to have recorded a previous experience of the space (at Velem). "The ever changing and moving conditions of light resulted in the continuous rearrangement of space where the onlookers have spontaneously became active parts of the new space-system. The changes in proportions of objects, the reflection of projected reflecting conditions on different surfaces — that is the multiplied feedback of the processes of reflection — may help elaborate a process of self and system^recognition more complicated than previous ones."

18 In the showroom at Budaörs only two components of this process were apparent: the "pseudo-space" in reality (the construction of glass, mirrors and cellophane) and the illusory "space-time" (on the film). In 1980 L. Gecser combined the threads of her seemingly independent experiments into a richly coloured "weft" on the balks of the Velem workshop. A very complex, human proportioned system of space that is easy to perambulate was bom out iof the exploratory steps taken in "The Bridges". Her experiments with materials led from sysal to synthetics and further to materials having an affinity to flight l(glass letting light through, cellophane refracting it, mirror reflecting it and lustreless bladk satin-iclath that absorbs light. (Ills. 28—29.) She created a permanently changing (the two ways of changing : by human movement new and new conditions of space are brought about; the built-out system of space was removed and rebuilt several times) labyrinth in space whose parts are joined together, are reflecting each other and they can be viewed from each other. Its real or illusory walls floating with a metallic lustre softly and its multiplications have formed a series and system of plastioal, spatial, visual and auditive experiences that have not existed before for the person inside the labyrinth (an active partaker) phisically. Lujza Gecser and András Szirtes recorded on a moving film the complete process of their activities, the formation, change 431