Name
Simon Zsolt József (HU)
About
My elder works at:
http://www.simonart.carbonmade.com
My design at:
http://www.tamon.carbonmade.com
My pieces available at:
Officine Saffi in Milan
http://www.officinesaffi.com
FBC London
https://fbc-london.com
PULS in Brussels
http://www.pulsceramics.com/
J. Lohmann Gallery in New York
http://www.jlohmanngallery.com
Gallery du Don in Le Fel, France
http://ledondufel.com
“Inexhaustible”
In the case of the creation of an object frozen in a motionless state, we would be saddened if viewers would only witness them as a “dead” sight. Seemingly static statics fail to move viewers and create a sense that the object was born and took shape through work, life, and motion. Viewers have as much chance to link the motionless with its origin and its living motion as it’s capable of leaving an impression and reference to the spiritual and living in a petrified object.
These shapes are border-beings capable of recalling the image of simple, microscopic beings – beings with a true medium of moisture, a lifelike, flowing world. They are like the shells of diatoms which in this size display the traits of order evidenced in the kingdom of plants and animals, occasionally imitating the diffuse systems of barren skeletons, branches, or leaves.
The softly manifesting interior, turning to darkness and guarded in a dangerous nest of density and opulence displays an image which recalls the balancing between the existence of plant and animal life. It is a kind of inflorescence which leads to gulf-like inner space similar to the mouths of animals where we are welcomed by an active darkness suggestive of secrets.
Moving inwards from the petals we move along a smoothly rippling liquidity towards the inside of objects, with a rotating-radiating orientation on the outside. We find an imaginary axis in the middle of these two opposing streams. This maintains the unity of the extremes of slowly flowing, inward-bound and sharply cleaving, outward-bound motion. Half of this imaginary axis belongs to a bright space surrounded by petals, whilst the other half is in the dark space of the object’s interior.
The white opaqueness highlights a bone-like nature, while the yellow color moves our imagination towards a flower or fruit-like nature. The gray color tends to bring the interior darkness to the forefront.
Such are the results of the fruitful preservation of extremes, the shapes of inexhaustibly renewing radiant beings created through an endeavored aimed at beauty.
My life is movement.
If somebody watches me during sculpturing he or she says it looks like massage or a dance with clay.
When I teach movement or I do movement, I feel like sculpturing with the space around me.
To press, to release, to form.
My paintings, drawings and sculptures are movement studies without real forms. I didn’t want to catch the forms but the process of forming. Not the fruit or the flower, which are always changing and growing but the growth and change itself, which will form the material once.
The movements in the drawings, sculptures and paintings rather touch the material than really form it. They are coming and suddenly disappearing.
I am trying to reserve the experience of easy and light forming before stucking in material.