Contemporary Applied Arts from Hungary 3.


The theme of Ervin László philosopher’s book entitled Cosmic Relations (1992) is the theory of psi-field theory. This notion derives from the name of the basic equation of wave mechanics, which describes the objects of the subatomic world as both particles and waves. Accordingly, psi-field is identifiable with physical vacuum. This ever present medium conveys all existing interactions. Ervin László presumes that there is an interaction not only between electric particles but also between other substances yet not discovered by scientists. He also assumes that psi-field incorporates information, and according to him psyche as well as consciousness is the interaction of the vacuum field and that of the human brain. Through this perception consciousness is a certain hologram imprint of our brain that stays behind after our death, and starts its own substantive life. All hologram imprints of objects present in the universe stay behind in this field, thus creating a special hologram universe. Imprints of intelligible beings’ minds conglomerate into a single coherent system; thus, the vacuum field is a duplicate of the world. It is made up, on the one hand, of the real world, on the other hand, of its imprint. This is nothing less than an attempt to define transcendent existence from the point of view of natural science through a consciousness scaled off the body and the individual movement of the soul in the psi-field.

Sára Richter moves in this transcendent world with a routine.
I cannot imagine any art without transcendent experience.
Humanity’s extraordinary tradition-heritage, going back to the very first memories, implies the themes of ‘life and death’ and ‘birth and ‘evanescence’.

“Who can of Tao the nature tell?
Our sight it flies, our touch as well. Eluding sight, eluding touch, The forms of things all in it crouch;
Eluding touch, eluding sight
There are their semblances, all right. Profound it is, dark and obscure; Things` essences all there endure.”
(Tao Te Ching 21, translated by James Legge.)

Sára’s juxtaposed and melting sequences are just like Tao Te King’s simple declarative sentences. Figures would happen and symbols get alive.
Her world puts no border between the living and the dead. She tells the story of simple, everyday people’s ordinary lives and deaths. I use the phrase ‘tell a story’ deliberately. Her seamed, sealed and cemented images remind us of the myths of mankind, the ballads of folk-art, and the story-telling tone of folk-tales. There is no emphasis, no struggle, no drama.
Sára’s gentle, feminine soul filters and simplifies these categories. An understanding melancholy surrounds death and birth, evil or good alike. She portrays life in a way that there is no need for the spectator to specify the period she lives and works in. She is ageless in every sense. In her unique style naivety and pictographs, folk-art and minimal art exist side by side.
Her images have a strong unity held together by the quintessence of all, the vibrations of the soul of a child and that of the experienced.
Human soul happens and speaks; it is ageless and nude and thus pressingly painful and ordinary at the same time. Everything and its reciprocal exist side by side and flow into each other. The living become dead and the deceased come to life, two worlds incorporated into one.
Wherever she takes her symbols from, they become integrated and equal in value in her artistic world. Either the shopping cart or the dress tag’s instruction for use or the motif of the column-cap or the written text, all transubstantiate and blend into her lyrical ballads.

“The movement of the Tao By contraries proceeds;
And weakness marks the course Of Tao’s mighty deeds.
All things under heaven sprang from It as existing (and named);
That existence sprang from It as non-existent (and not named).”
(Tao Te Ching 40, translated by James Legge)