Approx 20″ dia. – raku fired ceramic – 2014
The autumn colors are magnificent as the foliage is ending their useful life.
These 20” dia. raku-fired wall hanging plates illustrate some of my old memories I gathered during our camping trips with our kids and when we were building our cottage up north at Gull Lake.
When I was making these plates I almost felt the fresh air blowing from the lake and the aroma of the decaying leaves. It was an interesting sensation. The only thing that was missing is the night sky and all those stars. So to ‘correct’ that I added my favorite constellations like the Big Dipper and Orion.
19″ dia. – raku fired ceramic- 2014
I have to admit that I have an addiction.
I am obsessed to look up a website everyday.
The past 10+ years I daily look up this magnificent site, which many times gives me ideas for new art subjects.
This site is: http://apod.nasa.gov/apod/astropix.html
If you have time please look it up, I hope you will like it.
The results of this obsession are a few ceramic plates that were inspired by the website I mentioned above.
20″ dia. – raku fired ceramic- 2014 SOLD
I have to admit that I have an addiction.
I am obsessed to look up a website every day.
The past 10+ years I daily look up this magnificent site, which many times gives me ideas for new art subjects.
This site is: http://apod.nasa.gov/apod/astropix.html
If you have time please look it up, I hope you will like it.
The results of this obsession are a few ceramic plates that were inspired by the website I mentioned above.
21″ dia. – raku fired ceramic- 2014
I have to admit that I have an addiction.
I am obsessed to look up one website everyday.
The past 10+ years I daily look up this magnificent site, which many times gives me ideas for new art subjects.
This site is: http://apod.nasa.gov/apod/astropix.html
If you have time please look it up, I hope you will like it.
The results of this obsession are a few ceramic plates that were inspired by the website I mentioned above.
18″ x 22″ – raku fires ceramic – 2014 (SOLD)
I have ventured into the literary field. Do not worry I did not write a book.
But I try to interpret Hemingway’s “The Old Man & the Sea” in clay.
I just reread this short novel and this ceramic plate was the result of it. It is a somewhat three dimensional wall hanging.
12″H x 18″H – raku fired ceramic – 2014
As the King James translation show:
And he prayed vnto the Lord, and sayd, I pray thee, O Lord, was not this my saying, when I was yet in my countrey? Therefore I fledde before vnto Tarshish: for I knew that thou art a gracious God, and mercifull, slow to anger, and of great kindnesse, and repentest thee of the euill.
Therefore now, O Lord, Take, I beseech thee, my life from me; for it is better for me to die then to liue.
Then said the Lord, Doest thou well to be angry?
And the Lord God prepared a gourd, and made it to come vp ouer Ionah, that it might be a shadow ouer his head, to deliuer him from his griefe. So Ionah was exceeding glad of the gourd.
But God prepared a worme when the morning rose the next day, and it smote the gourd that it withered.
And God said to Ionah, Doest thou well to be angry for the gourd? and he said, I doe well to be angry, euen vnto death.
12″H x 18″W – raku fired ceramic – 2014
As the King James translation show:
And Ionah began to enter into the citie a dayes iourney, and hee cryed, and said; Yet fourtie dayes, and Niniueh shalbe ouerthrowen.
12″H x 18″W – raku fired ceramic – 2014
As the old King James translation show:
Then Ionah prayed vnto the Lord his God, out of the fishes belly,
Then I said, I am cast out of thy sight; yet I will looke againe toward thy holy Temple.
But I wil sacrifice vnto thee with the voice of thanksgiuing, I will pay that that I haue vowed: saluation is of the Lord.
12″H x 18″W – raku fired ceramic – 2014
As the old King James translation show:
Now the word of the Lord came vnto Ionah the sonne of Amittai, saying,
Arise, goe to Nineueh that great citie, and cry against it: for their wickednes is come vp before me.
But Ionah rose vp to flee vnto Tarshish, from the presence of the Lord, and went downe to Ioppa, and he found a ship going to Tarshish: so he payed the fare thereof, and went downe into it, to goe with them vnto Tarshish from the presence of the Lord.
12″H x 18″W (each) – raku fired ceramic – 2014
I do not know how you will react to this sequence but once more I am back at the prophets.
There were quite a few of them and I do not know if you have a favorite one, but I do have one. My favorite prophet is Jonah.
I have prepared his representation a few times already in ceramics and somehow they always touched many people. It could be because he is the most human prophet.
He does not want to do the chore that he was summoned to do.
Runs away, punished, then he does the chore & finally when he is fully exhausted, the authorities – God – teach him a lesson. Even the poor pumpkin, giving him some shade, had chewed away but a small worm.
Nowadays that I am getting older I’ve learned ‘how-to-roll-with-the-punches’ so I do not quarrel, just do the chore.
Approx. 38″ dia. – white ash – 2014
19″ dia. – raku fired ceramic – 2014
This plate again comes from memories of the Northern Ontario landscape.
17″H x 21″W – Raku fired ceramic – 2014 (SOLD) As previously I’ve said, the human characters of the religions, being Greek-Roman or Judeo-Christian, that attracts me. To me, the prophet Jonah is the one I mostly can identify with. I feel that I would have done the same thing … run away from the chore because God will not deliver on his threats.
But how could Jonah knew that he had been used, and so what, he was a prophet, it was in this ‘job description’.
So this image came to me by reading Jonah 3:4 –
And Jonah began to enter into the city a day’s journey, and he cried, and said, Yet forty days, and Nineveh shall be overthrown.
18″ x 23″ – raku fired ceramic – 2014 (SOLD)
When you look at this wall hanging ceramic mural you will see a different effect of this special finish firing of the raku technique.
On this sculpture I used one, white crackling, glaze only. As you have seen how beautiful the metallic glazes turn out so does the white cracking have this wonderful net of black lines. These lines are made as the cherry-hot (2000F) piece is moved from the kiln to the reduction box. (A metal box that is full with sawdust and has a good metal cover to contain the flames and achieve the reduction.)
When colors are involved it is very important that the piece moved instantly in to the reduction box so oxidization will not affect the outcome of the colors.
When using the white glaze there is nothing to be reduced, but, as the piece cools down in the sawdust the hot carbon dioxide deposit carbon ‘atoms’ onto the terracotta body where the glaze have a hairline crack due to the heat shock as it moved from the kiln into the box. So here is a trade secret; I intentionally move the white glazed piece slowly. Let it cool a bit and have nice even crack on the glaze surface by the time it is placed into the sawdust. I use a long metal fork and kind of waving the hot ceramic like I would fan someone (in a horizontal position).
So the black hairlines are below the glaze and they would stay there forever. (If I would re-fire this piece these carbon lines would burn off and new lines would come into view at different places.)
19″ dia. – raku fired ceramic – 2014
As I have mentioned before I have an addiction.
I am obsessed to look up a website everyday.
The past 10+ years I daily look up this magnificent site, which many times give me ideas for new art subjects.
This site is: http://apod.nasa.gov/apod/astropix.html
If you have time please look it up, I hope you will like it.
The results of this obsession are a few ceramic plates that were inspired by the website I mentioned above.
This ceramic plate try to capture that very split moment when the Sun gets out of total eclipse. At that moment this view will be seen. Astronomers call it the ‘Diamond Ring’.
I remember when I was a kid back in Hungary we were using a candle to deposit carbon on a piece of flat glass to be able to see the event. Wow it was a long-long time ago.
20” dia. – raku-fired ceramic – 2014 This wall hanging plates illustrate some of my old memories I gathered during our camping trips with our kids and when we were building our cottage up north at Gull Lake.
14″ dia – raku fired ceramic – 2014 (SOLD)
I have made a raku fired ceramic piece called ‘O Beatrice’ in 1984, yes thirty years ago. O my God!
I was not completely happy with the outcome of the raku firing of that piece, but for many years it was hanging on our wall. As other pieces took over the wall area it was moved out into my studio and dust was collecting on it. I’ve decided that I would re-fire it. It was a great chance that may not make it through the new firing, but I hopped my new method of firing would achieve what I wanted to do thirty years ago. It made through the firing without a crack.
This work shows Dante and his secret love, Beatrice, whom he never even talked to. And see her only twice. There were different standards at that time…
PS.: You may notice that the glaze flow down from his hat to his forehead and his eyelid. That happened thirty years ago. Now it is a very unique piece.
I do not know how you will react to this latest work.
I have this idea a few years on my mind; I wanted to make something which is a very human activity, without falling into the trap of pornography.
Now you see the outcome.
The truth of the matter is that last time when we were flying back from a Mexican holiday, at the airport I saw a book that was called ‘The Maya Sutra’. It is/was a play on the Hindu teachings of married life the ‘Kama Sutra’. I did not buy the book but took the idea for the title of my series that I called ‘Dozen ways to love your love’.
So the title of this series now is:
‘CaNa Sutra – Red’
with a subtitle:
‘Dozen ways to love your love’
All these tiles are 11-1/2″ square with a red wood backing.
23″H x 32″W – Hammered copper mural – 2014 With the boys we were up at the Cypress Lake Campground and Bruce Peninsula National Park and walked many times up to the Bruce trail. The view from the top of the trail is breathtaking. The huge overhangs of the limestones creating a canopy are magnificent. Walking under them is a real adventure.
Also in the far distance you can see the outline of the ‘Flowerpot Island’. Now, that is the view I tried to capture.
If you have not been up there, then put it on your ‘bucket list’.
23″H x 42″W – Hammered copper mural – 2014 (SOLD) I have seen these trees on the Georgian Bay many-many years ago when my dear friend Karl Langenfelt took me for a boat ride to the open bay. It was interesting to see this dead old tree and a young new one shooting for the sky in it shade. I felt a human parallel in this scene. Do you know what I meant?
23″W x 33″H – Hammered copper mural – 2014 SOLD This is the second rendition of the same topic. The one I made last year found a nice home so I did this variation on that same small tree.
I, who came from a small Hungarian village, never thought that my art will be mounted one day on the pillars of this 200 plus years old Anglican congregation here in Toronto.
I made these raku fired ceramic plates a year ago not knowing what will be their destination. I had to make them; it was an inner call that I had to fulfill.
If you want to see my Stations in downtown Toronto, walk over to the corner of Church and King Street, where you will find the St. James Cathedral.
I, who came from a small Hungarian village, never thought that my art will be mounted one day on the pillars of this 200 plus years old Anglican congregation here in Toronto.
I made these raku fired ceramic plates a year ago not knowing what will be their destination. I had to make them; it was an inner call that I had to fulfill.
If you want to see my Stations in downtown Toronto, walk over to the corner of Church and King Street, where you will find the St. James Cathedral.
I, who came from a small Hungarian village, never thought that my art will be mounted one day on the pillars of this 200 plus years old Anglican congregation here in Toronto.
I made these raku fired ceramic plates a year ago not knowing what will be their destination. I had to make them; it was an inner call that I had to fulfill.
If you want to see my Stations in downtown Toronto, walk over to the corner of Church and King Street, where you will find the St. James Cathedral.
I, who came from a small Hungarian village, never thought that my art will be mounted one day on the pillars of this 200 plus years old Anglican congregation here in Toronto.
I made these raku fired ceramic plates a year ago not knowing what will be their destination. I had to make them; it was an inner call that I had to fulfill.
If you want to see my Stations in downtown Toronto, walk over to the corner of Church and King Street, where you will find the St. James Cathedral.
14″ x 18″ with 24k gold-leaf edge – Acrylic on Canvas – 2013 -14
Artists, like barometers, have to show time-to-time the place and the situation where they are living. These paintings, which I call ‘Concerned Art’, do precisely that.
You may recall that I was painting the ‘Icons for the 99%’ in 2011. At that time I had hope that something would change but it did not. Democracy does not exist for the common men. It is the tool of a chosen few.
Now, we have an ongoing, persistent problem; there are no jobs.
Young people finish their education or their trades, like tool-and-die making, but cannot find job. Under the false pretend of Globalization all the fine paying jobs were taken away from this continent.
The human suffering due to lost jobs and resulted lost of self-respect is devastating. More and more people slide down to the level where we were in the late 20-es and early 30-es, “Brother, can you spare a dime”.
So I call this sequence of paintings ‘Icons for the jobless’.
I hope you can relate to these works.
14″ x 18″ with 24k gold-leaf edge – Acrylic on Canvas – 2013 -14
Artists, like barometers, have to show time-to-time the place and the situation where they are living. These paintings, which I call ‘Concerned Art’, do precisely that.
You may recall that I was painting the ‘Icons for the 99%’ in 2011. At that time I had hope that something would change but it did not. Democracy does not exist for the common men. It is the tool of a chosen few.
Now, we have an ongoing, persistent problem; there are no jobs.
Young people finish their education or their trades, like tool-and-die making, but cannot find job. Under the false pretend of Globalization all the fine paying jobs were taken away from this continent.
The human suffering due to lost jobs and resulted lost of self-respect is devastating. More and more people slide down to the level where we were in the late 20-es and early 30-es, “Brother, can you spare a dime”.
So I call this sequence of paintings ‘Icons for the jobless’.
I hope you can relate to these works.
14″ x 18″ with 24k gold-leaf edge – Acrylic on Canvas – 2013 -14
Artists, like barometers, have to show time-to-time the place and the situation where they are living. These paintings, which I call ‘Concerned Art’, do precisely that.
You may recall that I was painting the ‘Icons for the 99%’ in 2011. At that time I had hope that something would change but it did not. Democracy does not exist for the common men. It is the tool of a chosen few.
Now, we have an ongoing, persistent problem; there are no jobs.
Young people finish their education or their trades, like tool-and-die making, but cannot find job. Under the false pretend of Globalization all the fine paying jobs were taken away from this continent.
The human suffering due to lost jobs and resulted lost of self-respect is devastating. More and more people slide down to the level where we were in the late 20-es and early 30-es, “Brother, can you spare a dime”.
So I call this sequence of paintings ‘Icons for the jobless’.
I hope you can relate to these works.
14″ x 18″ with 24k gold-leaf edge – Acrylic on Canvas – 2013 -14
Artists, like barometers, have to show time-to-time the place and the situation where they are living. These paintings, which I call ‘Concerned Art’, do precisely that.
You may recall that I was painting the ‘Icons for the 99%’ in 2011. At that time I had hope that something would change but it did not. Democracy does not exist for the common men. It is the tool of a chosen few.
Now, we have an ongoing, persistent problem; there are no jobs.
Young people finish their education or their trades, like tool-and-die making, but cannot find job. Under the false pretend of Globalization all the fine paying jobs were taken away from this continent.
The human suffering due to lost jobs and resulted lost of self-respect is devastating. More and more people slide down to the level where we were in the late 20-es and early 30-es, “Brother, can you spare a dime”.
So I call this sequence of paintings ‘Icons for the jobless’.
I hope you can relate to these works.
23″H x 42″W – Hammered copper mural – 2014 I have seen these trees on the Georgian Bay many-many years ago when my dear friend Karl Langenfelt took me for a boat ride to the open bay. It was interesting to see this dead old tree and a young new one shooting for the sky in it shade. I felt a human parallel in this scene. Do you know what I meant? You may see some parallel between this and the some concept called the ‘Sunset’. Sunset has already find a beautiful home, so I made this ‘Sunrise’ version of it. You can see my interpretation of the setting sun – circular hammered lines around the sun – and the rising sun, radiating out to the new day.
Now isn’t that beautiful? The ‘new’ sun is rising above the rainy clouds.
19″W x 29″H – raku fired ceramic – 2014 I am referring to 40 days rain, the deluge, the one that almost all religion and myth refer to. It is a question if that was a rain or a huge ice chunk that fall into the sea at the south pole which created a tremendous tsunami, but it seems that definitely something catastrophic had happened. What I’m trying to capture the 41st day when the rain had stopped. The sun is coming up. Life could start again. I’ve melted colored glass into the bowl of the sun that is how I got this effect.
It seems that it had resonated with many people as it has fined a home very fast.
24″W x 42″H – Hammered copper mural – 2014 SOLD I want to make this more figurative copper mural. I used different chemicals to achieve some coloring of the copper sheet. I think this attempt worked out fine. I used silver leafs on the sword and gold leafs on the crosses and the halo. Look up the two details I’ve also posted.
14″ x 18″ with 24k gold-leaf edge – Acrylic on Canvas – 2013 -14
Artists, like barometers, have to show time-to-time the place and the situation where they are living. These paintings, which I call ‘Concerned Art’, do precisely that.
You may recall that I was painting the ‘Icons for the 99%’ in 2011. At that time I had hope that something would change but it did not. Democracy does not exist for the common men. It is the tool of a chosen few.
Now, we have an ongoing, persistent problem; there are no jobs.
Young people finish their education or their trades, like tool-and-die making, but cannot find job. Under the false pretend of Globalization all the fine paying jobs were taken away from this continent.
The human suffering due to lost jobs and resulted lost of self-respect is devastating. More and more people slide down to the level where we were in the late 20-es and early 30-es, “Brother, can you spare a dime”.
So I call this sequence of paintings ‘Icons for the jobless’.
I hope you can relate to these works.
