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LOVAS, Ilona
LOVAS, Ilona
Textile Artist, Fine Artist
(Budapest, 1st January, 1948 – )
1970–1974: College of Applied Arts, Budapest: Weaving Faculty. 1973: 2nd Prize at the Textile Biennial of Milan; 1993: Munkácsy Award; 2005: Meritorious Artist. Lovas is a member of the Textile Arts Creative Workshop of Velem. She lived in New York between 1975 and 1977, then again between 1990 and 1991, and presently resides in Budapest. Her career began during the 1970’s as a textile artist. This was a period of experimentation with textile, artists such as Lovas attempted to stretch the boundaries of the textile genre. During the course of her first period Lovas produced works, which no longer textile pieces, rather objects prepared from fine materials. The environment introduced at the exhibition in Pécs in 1980 was such a work: a combination of water, grass, and pressed linen material. At her exhibition held in Kőszeg she introduced seven large-scale paper tables, which she cast with her own hands entitled Stációk /States/, 1984. The plant seeds and inner wire construction, which holds the tables, produced the cross-motifs, which press through the surfaces of the works. Hardly readable, text details from testaments covered the other tables. The last table, acting as an alter, was laid down on the floor, and grass grew from its paper surface. This ‘nature-pantheon’ served as a new chapter in the history of nature art pieces. Within the framework of the piece, nature did not appear as a mode of depiction, but as the object of the work of art. The obligatory idea of the perishing natural surroundings stands in the center of Lovas’s work: the objection to the destruction of the relationship between the elements of life and those of civilization. The perfect formation of the dual effect of the reference to both nature and the Testament, the allegory of ‘nature crucified’, made Lovas’s work a significant piece of the period. From the end of the 1980’s Lovas found a new biological material for her works: ox-gut. In the manner in which she makes use of this ordinary animalistic material is attributed to a noble parchment. She built a number of statues and installations from large spindle and cocoon forms. The original nervure of the ox-gut is conserved as fascinating ornament (frost-flower structure) on the surface of her works, with which she directly refers back to its natural origin. Elements such as the large cylinder made up of parchment strips, the airily floating cocoons, the large cauldron, and the gigantic shield all portray life, and with their closely followed signs, forms which become solidified into works of art. During the middle of the 1990’s her installations contained the element of cast paper forms, a number of magical, enigmatic small works were produced, which remain messages to the centuries to come.
(Budapest, 1st January, 1948 – )
1970–1974: College of Applied Arts, Budapest: Weaving Faculty. 1973: 2nd Prize at the Textile Biennial of Milan; 1993: Munkácsy Award; 2005: Meritorious Artist. Lovas is a member of the Textile Arts Creative Workshop of Velem. She lived in New York between 1975 and 1977, then again between 1990 and 1991, and presently resides in Budapest. Her career began during the 1970’s as a textile artist. This was a period of experimentation with textile, artists such as Lovas attempted to stretch the boundaries of the textile genre. During the course of her first period Lovas produced works, which no longer textile pieces, rather objects prepared from fine materials. The environment introduced at the exhibition in Pécs in 1980 was such a work: a combination of water, grass, and pressed linen material. At her exhibition held in Kőszeg she introduced seven large-scale paper tables, which she cast with her own hands entitled Stációk /States/, 1984. The plant seeds and inner wire construction, which holds the tables, produced the cross-motifs, which press through the surfaces of the works. Hardly readable, text details from testaments covered the other tables. The last table, acting as an alter, was laid down on the floor, and grass grew from its paper surface. This ‘nature-pantheon’ served as a new chapter in the history of nature art pieces. Within the framework of the piece, nature did not appear as a mode of depiction, but as the object of the work of art. The obligatory idea of the perishing natural surroundings stands in the center of Lovas’s work: the objection to the destruction of the relationship between the elements of life and those of civilization. The perfect formation of the dual effect of the reference to both nature and the Testament, the allegory of ‘nature crucified’, made Lovas’s work a significant piece of the period. From the end of the 1980’s Lovas found a new biological material for her works: ox-gut. In the manner in which she makes use of this ordinary animalistic material is attributed to a noble parchment. She built a number of statues and installations from large spindle and cocoon forms. The original nervure of the ox-gut is conserved as fascinating ornament (frost-flower structure) on the surface of her works, with which she directly refers back to its natural origin. Elements such as the large cylinder made up of parchment strips, the airily floating cocoons, the large cauldron, and the gigantic shield all portray life, and with their closely followed signs, forms which become solidified into works of art. During the middle of the 1990’s her installations contained the element of cast paper forms, a number of magical, enigmatic small works were produced, which remain messages to the centuries to come.
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