Energy Field Sculpture

In Farkas Krisztina’s life, a highly important momentum is the diploma obtained at the Department of Art and Art History in 2006, and a master’s degree in 2012. From that time on, independent creative work has given weight to her life. Her performance, the process of artistic work is extraordinary, from the idea dreamt up, from the vision to the actual construction. In this case, transforming the visions into bronze artworks. “It is natural that works of art themselves entitle us to examine also, what kind of conditions and qualities, i.e. talents are required to create them?” - asks Füst Milán in his book titled Vision and Impulse in the Arts. In fact, in case of sculpture, the question is not how the artist gathers the ideas, through what kind of experiences the artist collects the themes, what inspires the creation of a sculpture – the most important thing is the work of art created. The artistic sculpture, demanding a sizable piece of space for itself, a material and intellectual object is primary, in its construction, appearance and formal perfection. Cast bronze sculptures are the flowing images of our rich inner world, while the sight is a diverse piece of life appearing in front of our eyes. Farkas Krisztina was familiarized with the classical process of bronze casting by sculptor Borsi Sándor, who helped her in the construction of her sculptures with his expertise. Thus, we can have a look at the collection of sculptures, the materialized visions of a young artist with sensitive inner world. What are these visions like? How can we describe them? First of all, in their appearance, they are not idealizing. In many times, the serration and ebulliting play of cast material prevails as a contrast to bodies sensitively moulded into wax. Besides plasticity, greenish patina plays a role, giving some kind of picturesque appearance to the artworks. In addition to strong plastic emphasis, Farkas Krisztina often exploits the artistic potential of the spatiality of hollow, negative forms, searching for the hidden dimensions of space. Her sculptures in any form raise sympathy, they are upsetting and expressive. The weight of pregnancy, the anguish of birth and the loss of life all make us take a stand. The only promising part of the human mask kept alive by tubes on a sickbed is the open left eye. I find explanation in her “Superiority” standing high above other people. It is not only a grotesque play, but a critic as well.