Human Visibility
One of the main inspirations for the series stems from the nature of the collection of Márta Kanics. The other component is a certain abstract reaction to all the senses and range of meanings this collection expresses to me. Both dimensions of the series are based on contrast; however harmony and contrast are simultaneously present in the pictures.
The material structure and the manual weaving technology applied in Márta’s dresses relate to folk traditions, with certain cultural commitments. Visibility, light and sculptural surface effects play a key role in her works.
Their balance is provided by muted colours, such as black, white and shades of grey. Traditional techniques are present in the shape and patterns of the dresses, which are supplemented by an innovative use of materials. Urban culture is applied as a kind of globalised agent in the form of reflective strips woven in the material. The individual, who is otherwise merged in its environment, is highlighted by this so-called added value. A possibly positive feature of civilisation – in addition to evolution – is having a set of rules that is standardised, rigid and flexible at the same time. This complexity appears in the interaction of reflective strips and the fabric. Negative notions are present as well, since in the generally blue mood the individual is foreign, impersonal and distorted.
In this expression, doubt plays a key role. Although evolution elevates us from the organic environment and our nature makes us visible, I am uncertain whether we can understand the essence of ourselves. In other words: whether we are visible to ourselves. In my opinion, the amount this visibility is very doubtful.
The material structure and the manual weaving technology applied in Márta’s dresses relate to folk traditions, with certain cultural commitments. Visibility, light and sculptural surface effects play a key role in her works.
Their balance is provided by muted colours, such as black, white and shades of grey. Traditional techniques are present in the shape and patterns of the dresses, which are supplemented by an innovative use of materials. Urban culture is applied as a kind of globalised agent in the form of reflective strips woven in the material. The individual, who is otherwise merged in its environment, is highlighted by this so-called added value. A possibly positive feature of civilisation – in addition to evolution – is having a set of rules that is standardised, rigid and flexible at the same time. This complexity appears in the interaction of reflective strips and the fabric. Negative notions are present as well, since in the generally blue mood the individual is foreign, impersonal and distorted.
In this expression, doubt plays a key role. Although evolution elevates us from the organic environment and our nature makes us visible, I am uncertain whether we can understand the essence of ourselves. In other words: whether we are visible to ourselves. In my opinion, the amount this visibility is very doubtful.
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