Agnès Husz

When I think of the major events in my life that influenced the basic of my work was between 1991-1993. In these years I spend time on my Master’s Degree, working in Kecskemet (ICS) and Siklos in Hungary’s Ceramic Studios at International Workshops, my journey to Japan, and to the EKWC in Holland. These events helped establish the pith of my work, its actual characteristics. Of these events, the most important was the three month stay working in Holland at the European Ceramic Work Centre (EKWC) in 1993. There, with my curved and rolling ribbons of clay, my new, Eastern European–Asian self was born.

At that time, I had begun making spiral objects created out of wide, flat clay ribbons; from small objects to objects of a very large dimension often measuring over one meter. When I began to develop, and expand this idea, I put aside all other experiments at the time and devoted myself to the snail’s curved world. This unique way of creating shapes opened up a marvelous power to me, and that finally helped me to define myself and give a special sense of esthetic to my objects. It’s like a painter’s touch: it’s the way that I express myself. Whirls, bandaged shapes, spirals hanging on one to the other. They all are implying the motion of bounding and unbounding, the circling motion of drawing in and swinging out. By these contrasts, I’m reflecting over never-ending motion, over circumvolution of living, over infinity, over nature.

Perhaps, that is what I was given in Japan: Philosophy of a cosmic nature.