18.05.2019

Eugénia's story

I met Mrs Eugénia back in 2009 when I was writing my masters degree work about "Significant female personalities of Slovak ceramics". Eugénia Lugsová was a renown ceramic artist/sculptor - born 1923 in former Czechoslovak Republic deceased 2013 in Bratislava Slovak Republic. She was one of the few women I picked to write about in my masters degree work.

Mrs Eugénia invited me to her apartment filled with her work and that created by her deceased husband. We talked for hours mostly about her beloved husband  - renown artist Theodor Lugs(1919-2000†). She remembered how they loved to work together in their big studio and sometimes also competed who's the better sculptor... She showed me books, pictures and the objects of their effort - just a small amount which left from all they created. At some point of our chat it came to them working with gold luster and she picked some beautiful porcelain bowls decorated with bright cobalt and gold luster paintings out of the shelf... remembering that they had ordered during communist regime so much of the gold luster that it was impossible to use out all the "zlatíčko" how she named the gold luster...

When I was on my way to leave she again thanked for the flowers I brought her and asked me that I mustn't leave without one of the two bottles she had left of the gold luster and also I have to pick some of the bowls she created....

Let me explain why am I writing this ... Mrs Eugénia was one of the nicest authentic persons with a warm heart I ewer met. And me a young student thinking only about how to finish school and all that stuff youngsters do... I never visited her again although she was always on my mind - I do regret it of course so so much... and will never forget about her!

I tried to work with the given luster at that time, It was made in year 1974 so it came something more into purple shade out of the firing than gold. Recently I came with the idea to high fire the luster and bring its rose beauty out by that way. After experimenting and testing it out again finally after ten years that the luster was given to me I can name a vessel after Mrs Eugénia :) I should also probably mention at this point why I came with the idea of the rose blush ...that came from a big influence by the work of renown ceramic artist Young-Jae Lee - I did spend couple summer months during my art school studies days at ceramic workshop Margarethenhöhe in Essen, Germany led by her... but that's another story....

Just one funny thing at the end of my story that life brings. I'm now teaching at one of my hometown art schools and guess who's visiting my art classes??? the great-granddaughter of Mrs Eugénia and guess what??? she loves to work with clay but that is not all she loves to create big scale objects.... so I guess this circle is closed.

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16.05.2019

Is Coral a Colour ?

Łódź Design Festival, at the festival centre, May, 17-26 (POLAND) -

 www.lodzdesign.com

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Bratislava Design Week, at Zoya Gallery, Ventúrska 269, June, 5-9 (SLOVAKIA) -

www.bratislavadesignweek.sk

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09.10.2018

Is Coral a Colour?

Exhibition Organiser :  The Adam Mickiewicz Institute

Curator: Agnieszka Jacobson - Cielecka

Co-organisers: The Regional Museum in Stalowa Wola, The Fise Gallery, The Polish Institute in Budapest

The exhibition will be presented from October 9 to 19 at the Fise Gallery in Budapest, and then from October 25 to 29 at the Designblok in Prague.

More information: www.culture.pl


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The curator, Agnieszka Jacobson-Cielecka, attempts to answer the question whether the colours typical for the countries of the region: Czech and Slovak, Hungarian or Polish can be singled out in the design? The exhibition undertakes to determine the colour of the Polish identity and the neighbouring countries. The curator analyses the colours selected for similar items by designers from the Czech Republic, Poland, Slovakia and Hungary such as vases as well as fabric designs. Sets of colours: hues of pink and blue, green and yellow will be created on the basis of the collected objects that appeared in the projects from the Czech Republic, Slovakia, Hungary and Poland.

The curator says that ‘Single colours are easy to determine: green, blue, red. When put together, they cease to be unambiguous, they become a language. Designers asked about their colour decisions shrug their shoulders. They say they choose what is fashionable or what sells. This, however, does not exhaust the topic.  ‘That's why, instead of analysing the choices of designers, the author focuses on countries in her exhibition and adds:  ‘The way we perceive colours and how we use them is influenced by many factors. Light and surroundings. Earth and sky, cities and nature.  Traditionally utilised materials and combinations to which we have become accustomed. Context is meaningful and in this region it is marked by the grey communist aesthetics. However, designers do not refer to tradition or nature. They reach for materials available, choose trendy colours.

Designers from the Czech Republic (Dechem Studio, Milan Pekar, Klara Sumova, Roman Sedina, Vessels Design, Geometr), Hungary (Eszter Soptei, Edina Andrasi, Sara Kele), Slovakia (Michaela Bednarova, Simona Janisova, Linda Vikova) and Poland  (Maria Jeglińska, Monika Patuszyńska, August Studio, Sebastian Pietkiewicz, Agnieszka Bar, Andrzej Mędrek, Alicja Tyburska, Andrzej Bero) participate in the exhibition.