A PLACE OF LIGHT in TREZOR
TREZOR means a room or equipment used for safe-keeping valuables.
VALUE means according to Bojti: the spirit-refreshing harmony between man, space, light, sound, music, movement, spirit, humour, and space proportions where architecture and glass sculpture merge. There is not any exhibition! Do not look at but feel and enjoy it!
Trezor, once a strong room, has not any windows though owns some strange, condensed architectural essence. A homogenous, grey, monolith space which inspires the spirit of a sculptor inclined to irrationality anyway, to intensively reproduce the most important values. The usual aristocratism of exhibitions is not present here. Perhaps it may be more important which is not looking good nowadays: the way of approach, ‘ismus’, complexity as an ability taken upon oneself, the grand value-creating of relationships, the interpenetration of artistic forms along humility, the raising of the spirit and life style of the user, the hidden spiritual messages of light, colour, and space abstractions interrelated. I wanted to offer the highly esteemed public an intellectual environment which can be made liveable. It is perhaps a modest stretching of hand towards those looking for own identity
We come from spaces, and go into spaces. May be, that we are parts of a space sculpture? We think, we are there but we could be even better there. We could even live there but we use it only. We run through although we long for a quiet staying, for a calming down somewhere. Do we want to, and are we able to do something for that? And if we are offered the opportunity of a mental styling, do we take it? Do we acknowledge the psychological importance of the space sculpture lacking means and using its real or ‘only’ virtual means? Does the demand arise on taking our own, direct space of life into our hands, and shaping it? Are we able to imagine something in addition to the interventions of interior design we are used to, which may perhaps feed also our intellectual, philosophical staying there? Are home or working environment ripe for a true cave experience? A cave where we can honour and fulfil the hidden desires of our soul. The not hidden intention of the installation exhibited is to present, to whisper into space a form of art which may perhaps be called new. The sculptor’s intention may move the susceptible into a direction granting ambitious and complex experience of visuality.
On the walls the colourful shadows and reflections of the plastic elements of space appear which talk back each other even in their complete relationships. The graphical elements ‘painted’ with wide gestures to cover total wall surfaces become authentic parts of reality although they are ‘only’ immaterial, colourful shadows of the glass surfaces properly prepared. In a way that we are close to not daring to step on the beautiful shadow falling on the ground from the two deep-green parallel glass sheets horizontally hanged. Will not break if we step on it?
If colourful shadows fall also on the wall from this same sculptural element, we really begin loosing our perhaps unjustified self-confidence, our everyday world view we have been accustomed to. We will perhaps abandon ourselves to a more spiritual, less materialist approach which ability we have already begun to loose perhaps in the heat of our sweeping ‘enlightenment’.
We do not have to worry. This sleeping ability is waiting somewhere deeply in us waiting for the opportunity to emerge again, and that the perceptible and intellectually stimulating could finally replace or complete the measurable and diversely explainable.
For the man and the family arriving home overburdened with worries a meditative detail of space or we may call it ‘spiritual cave’ may wait for, suitable for absorption. At the exhibition the space bordered by simple, coloured flat-glass plates is changed into a virtual cave of blue light by the shadows of the glass plates and the lights reflected from and to the walls.
We think that we are entering a place, but this is not the case, we are just walking to the part of wall which changed colour and the glass sheet. We can feel though that we are walking or even taking a rest in an individual meditative space within a home. The glass sheets placed in a space of a capital-T shaped plan horizontally and vertically, tilted or set on edge are in a continuous dialogue with each other, and they also themselves enter into special relationship with the architectural space, the window openings, the walls, and the floor. The negative plastic space becomes sculpture as a result of positive forms.
On the left from the entrance a composition element consisting of horizontal, bright black glass lamellae hanged diagonally at an angle of 30 degrees spans the corner. It separates and constitutes space. Particularly when it gets its own direct light and the corner as a screen receives the bent-line grey shadow stripes. At this moment the subject and its hard shadow casting a V-shape become homogeneous. With minimal means space elements get thus into our built environment, and not secondarily these enable our mental and spiritual refreshment, perhaps also our further training. Going back in space and time, it is worth saying perhaps some words also about the gentle pink light band cast on the grey floor of the corridor with subdued lighting and the thick whitewashed door-case.
We usually do not much bother about the psychic preparation of our entering, our first meeting with a space. It may be important however. Introduction can have even in prose works a role preparing for an atmosphere. With a light beam placed and directed with a proper sense of plasticity we can raise the experience of entering into ‘another world’ to a higher rank. The architectural space which has become a space composition offers the 3-dimensional world to be reproduced in a 2-dimensional non-figurative or even figurative, together with the man being active inside, mapping. Space becomes its own illustration.
If managing their means in common, architects and sculptors can perhaps take on helping the seeking of ways and means of man having lost identity. In the whole exhibition space the chance of this therapy, perhaps a new form of art appears.