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LUGOSSY, Mária
LUGOSSY, Mária
Goldsmith, Glass designer, Sculptor
(Budapest, 9th May, 1950 – )
1969–1973: College of Applied Arts, Budapest: Goldsmith Faculty. 1973–1975: Postgraduate Institution; Lugossy has been a member of the Széchenyi Academy of Literature and Arts since 1993. She was the head of the Medallion Department of the Society of Hungarian Fine and Applied Artists up until 1992. Glass and Sculpturing Faculty at Hungarian Sculpturing Society. Member of the G.A.S. (Glass Art Society, USA). In 1977 she was awarded the Award of the KISZ Central Committee, and the Award of the 1st National Medallion Arts Biennial in Sopron. 1978: Creative Artist Award of the Colony of Artists of Győr. 1981: 2nd Prize of the Society of the Studio of Young Artists in Szeged. The Grand Award of Béni Ferenczy; Award of the 3rd National Medallion Arts Biennial of Sopron; János Smohay Award, Székesfehérvár. 1982: Standard Award of the Cultural Ministry; 1983: Munkácsy Award; 1984: 1st Prize at the Immenhausen Glas-symposium; 1985: The certificate of merit from 2. Coburger Glaspreis; 1986: 1st Prize at the Le verre au Feminin en Europe; 1987: Kleinplastik Triennálé Fellbach, Bürgerpreis; Jutta Cuny-Franz Erinnerungspreis, Vienna; Award of the 6th National Medallion Arts Biennial, Award of the Cutural Ministry; Exhibitional Award at the 7th International Small Sculpture Exhibition, Gallery of Arts, Budapest; 1989: Award of the OKB Society of Hungarian Fine and Applied Artists. Spring Show, Award of Zirc City, Bakony Museum. 2nd place at the tender written for the memorial of the martyrs of the revolution of 1956; 1990: Separate Award of the exhibition entitled "Glass '90 in Japan"; The Award of the Museums of Baranya County at the 1st National Glass Arts Triennial, at the Museum in Tihany. The Grand Award of the exhibition entitled: "The Suntory Prize '90"; The Grand Award of the BIVA 1st International Glass Biennial; 1991: Artistic Standard Award at the 8th National Medallion Arts Biennial; 1992: Gold Award, for the tender written in the topic of Kristallnacht, Interfaith Institute, Philadelphia; 23rd FIDEM Grand Award, London, British Museum; Grand Prix, Château Beychevelle; 1996: In memoriam 1956, 2nd place, Cultural Center of Mosonmagyaróvár; Grand Award at the Suntory Prize '96 exhibition; 1997: Nagy Imre-memorial plaquette; 1998: Standard Award at the memorial exhibition of 1848, in Veszprém; the Award of the Society of Finnish Medallion Artists, FIDEM, Hague. 1977-1978: Steel sculpturing Fair at the Rába Factoryin Győr; 1982: International Glass Fair, in Frauneau; International Glass Fair, in Novy Bor; 1984: Glass and Architecture, International Glass Fair, in Sars-Poteries; Royal College of Art, London; Glass, Sculptoring and Architecture, International Glass Fair, in Hergisvil; Glass Fair, in Immenhausen; 1991: Summer School, Sars-Poteries (guest lecturer); Château Beychevelle; 1994: Sars-Poteries; 1998: Pilchuck Summer School (guest lecturer). Creative periods built consistently upon one another, and a rich sense of thoughtfulness was characteristic of the oeuvre of Lugossy. During the strict, constructivist start of her career she worked with metal preparing public clocks, jewelry, medallions and small sculptures. She prepared her public clocks in the spirit of practicality, philosophy, and plasticity. The electronic time display and the electro-news bulletins were placed onto her public clock works to symbolize the feats of engineering of the age. Lugossy participated in the organization of the Colony of Scupltoring Artists in Győr (at the Wagon and Machinary Factory) together with Zoltán Bohus, Tibor Csiky, István Nádler, and István Hraszty, between 1975 and 1977. Their goal was to cooperate with the architects of the era, and thus formulate the public living spaces, to organize the surroundings, and to broaden the function of public spaces through the usage of informational sculptural works. They prepared plans for the formulation of the cityscape of Győr and Kispest (southern Budapest). Their ideals however did not come to fruition. The mirror smooth surfaced, polished chrome steel small sculptures were prepared in the style of geometric abstraction. Similar to her contemporaries, with similar ideals, Lugossy also made use of industrial tools, and the possibilities for formation arising from these. Her rational medallions prepared with clear forms played an important part in the renewal of the genre. Lugossy included the usage of a number of new materials in her works: she usually counter-pointed the usage of metal, with the incorporation of fiberglass, minerals, then with the usage of optical glass. The duality of geometrical and natural organic forms evolved in her works, which represent multiple meanings. Minerals, as witness of time, glass as the time withstanding material, organic forms representing the luxuriating of nature, contingence and geometrical forms as one of the form of abstraction exist within this one uniform system. One of the most extravagant steps in this creative process was the large-scale installation entitled Gyorsulási tér /Acceleration Space/ (1981, Dorottya Gallery). In a size of 250x400x600cm the power lines running into one single point constantly growing in height, the material spread out over the ground’s surface gradually becoming more and more airy. The ever-growing work consisted of wood painted with graphite powder at the lower section, while followed by layers composed of black-gray metal sheets, and levels with aluminum effect. Finally the sand covered glass sheets light from the inside topped the structure. Intensive light appeared along the focus point of the power-lines. The work symbolizes the last moment before the Big Bang. Following this cosmic vision, the origins of life became the central theme of Lugossy’s creative period, starting from the beginning of the 1980’s. In her original worldly images elements such as the Ancient Oceanic, crevice of Ancient Mineral, and the Progentitor appear, which are intended to symbolize life. Lugossy worked with pasted, polished, sand-sprayed plate-glass panels. Within the chosen base forms appear shapes such as the pyramid, and the lens into which she incorporated smaller motifs, which symbolized life. The incorporated motif, be it glass lens, mercury, steel ball, or later a bronze figure are the correspondents of enclosure, which symbolizes Lugossy’s works. The figures resembling torsos, prepared of bronze, scuttled into the glass piece represent higher life forms. Later figures, human bodies, heads, bronze and iron castings were placed into these symmetric geometrical solids, which was covered with rampant unpolished materials (e.g.: Minden idők áldozatai /Offerings of All Times/, Kristály-éjszaka /Crystal Night/, etc.). The first work in this period was the composition of the memorial of 1956. On top of this obelisk prepared from smoke colored glass panels strains the torso of a man, as he is trying to break himself free of the material surrounding him, prepared of bronze in a masterful manner, symbolizing the revolt. In her newer works stone gains a more and more important place. Large sized stones constitute the main body of these works, in which a smaller lens acts as an inclusion (Mikrokozmosz /Microcosm/). The usage of black granite, which has a glass-like effect, signals the continuous shift to new materials. (Emlékmű a II. világháború székesfehérvári áldozatainak /Memorial for the victims of the Second World War in Székesfehérvár/, A forradalom lángja /Revolutionary Flame/).
(Budapest, 9th May, 1950 – )
1969–1973: College of Applied Arts, Budapest: Goldsmith Faculty. 1973–1975: Postgraduate Institution; Lugossy has been a member of the Széchenyi Academy of Literature and Arts since 1993. She was the head of the Medallion Department of the Society of Hungarian Fine and Applied Artists up until 1992. Glass and Sculpturing Faculty at Hungarian Sculpturing Society. Member of the G.A.S. (Glass Art Society, USA). In 1977 she was awarded the Award of the KISZ Central Committee, and the Award of the 1st National Medallion Arts Biennial in Sopron. 1978: Creative Artist Award of the Colony of Artists of Győr. 1981: 2nd Prize of the Society of the Studio of Young Artists in Szeged. The Grand Award of Béni Ferenczy; Award of the 3rd National Medallion Arts Biennial of Sopron; János Smohay Award, Székesfehérvár. 1982: Standard Award of the Cultural Ministry; 1983: Munkácsy Award; 1984: 1st Prize at the Immenhausen Glas-symposium; 1985: The certificate of merit from 2. Coburger Glaspreis; 1986: 1st Prize at the Le verre au Feminin en Europe; 1987: Kleinplastik Triennálé Fellbach, Bürgerpreis; Jutta Cuny-Franz Erinnerungspreis, Vienna; Award of the 6th National Medallion Arts Biennial, Award of the Cutural Ministry; Exhibitional Award at the 7th International Small Sculpture Exhibition, Gallery of Arts, Budapest; 1989: Award of the OKB Society of Hungarian Fine and Applied Artists. Spring Show, Award of Zirc City, Bakony Museum. 2nd place at the tender written for the memorial of the martyrs of the revolution of 1956; 1990: Separate Award of the exhibition entitled "Glass '90 in Japan"; The Award of the Museums of Baranya County at the 1st National Glass Arts Triennial, at the Museum in Tihany. The Grand Award of the exhibition entitled: "The Suntory Prize '90"; The Grand Award of the BIVA 1st International Glass Biennial; 1991: Artistic Standard Award at the 8th National Medallion Arts Biennial; 1992: Gold Award, for the tender written in the topic of Kristallnacht, Interfaith Institute, Philadelphia; 23rd FIDEM Grand Award, London, British Museum; Grand Prix, Château Beychevelle; 1996: In memoriam 1956, 2nd place, Cultural Center of Mosonmagyaróvár; Grand Award at the Suntory Prize '96 exhibition; 1997: Nagy Imre-memorial plaquette; 1998: Standard Award at the memorial exhibition of 1848, in Veszprém; the Award of the Society of Finnish Medallion Artists, FIDEM, Hague. 1977-1978: Steel sculpturing Fair at the Rába Factoryin Győr; 1982: International Glass Fair, in Frauneau; International Glass Fair, in Novy Bor; 1984: Glass and Architecture, International Glass Fair, in Sars-Poteries; Royal College of Art, London; Glass, Sculptoring and Architecture, International Glass Fair, in Hergisvil; Glass Fair, in Immenhausen; 1991: Summer School, Sars-Poteries (guest lecturer); Château Beychevelle; 1994: Sars-Poteries; 1998: Pilchuck Summer School (guest lecturer). Creative periods built consistently upon one another, and a rich sense of thoughtfulness was characteristic of the oeuvre of Lugossy. During the strict, constructivist start of her career she worked with metal preparing public clocks, jewelry, medallions and small sculptures. She prepared her public clocks in the spirit of practicality, philosophy, and plasticity. The electronic time display and the electro-news bulletins were placed onto her public clock works to symbolize the feats of engineering of the age. Lugossy participated in the organization of the Colony of Scupltoring Artists in Győr (at the Wagon and Machinary Factory) together with Zoltán Bohus, Tibor Csiky, István Nádler, and István Hraszty, between 1975 and 1977. Their goal was to cooperate with the architects of the era, and thus formulate the public living spaces, to organize the surroundings, and to broaden the function of public spaces through the usage of informational sculptural works. They prepared plans for the formulation of the cityscape of Győr and Kispest (southern Budapest). Their ideals however did not come to fruition. The mirror smooth surfaced, polished chrome steel small sculptures were prepared in the style of geometric abstraction. Similar to her contemporaries, with similar ideals, Lugossy also made use of industrial tools, and the possibilities for formation arising from these. Her rational medallions prepared with clear forms played an important part in the renewal of the genre. Lugossy included the usage of a number of new materials in her works: she usually counter-pointed the usage of metal, with the incorporation of fiberglass, minerals, then with the usage of optical glass. The duality of geometrical and natural organic forms evolved in her works, which represent multiple meanings. Minerals, as witness of time, glass as the time withstanding material, organic forms representing the luxuriating of nature, contingence and geometrical forms as one of the form of abstraction exist within this one uniform system. One of the most extravagant steps in this creative process was the large-scale installation entitled Gyorsulási tér /Acceleration Space/ (1981, Dorottya Gallery). In a size of 250x400x600cm the power lines running into one single point constantly growing in height, the material spread out over the ground’s surface gradually becoming more and more airy. The ever-growing work consisted of wood painted with graphite powder at the lower section, while followed by layers composed of black-gray metal sheets, and levels with aluminum effect. Finally the sand covered glass sheets light from the inside topped the structure. Intensive light appeared along the focus point of the power-lines. The work symbolizes the last moment before the Big Bang. Following this cosmic vision, the origins of life became the central theme of Lugossy’s creative period, starting from the beginning of the 1980’s. In her original worldly images elements such as the Ancient Oceanic, crevice of Ancient Mineral, and the Progentitor appear, which are intended to symbolize life. Lugossy worked with pasted, polished, sand-sprayed plate-glass panels. Within the chosen base forms appear shapes such as the pyramid, and the lens into which she incorporated smaller motifs, which symbolized life. The incorporated motif, be it glass lens, mercury, steel ball, or later a bronze figure are the correspondents of enclosure, which symbolizes Lugossy’s works. The figures resembling torsos, prepared of bronze, scuttled into the glass piece represent higher life forms. Later figures, human bodies, heads, bronze and iron castings were placed into these symmetric geometrical solids, which was covered with rampant unpolished materials (e.g.: Minden idők áldozatai /Offerings of All Times/, Kristály-éjszaka /Crystal Night/, etc.). The first work in this period was the composition of the memorial of 1956. On top of this obelisk prepared from smoke colored glass panels strains the torso of a man, as he is trying to break himself free of the material surrounding him, prepared of bronze in a masterful manner, symbolizing the revolt. In her newer works stone gains a more and more important place. Large sized stones constitute the main body of these works, in which a smaller lens acts as an inclusion (Mikrokozmosz /Microcosm/). The usage of black granite, which has a glass-like effect, signals the continuous shift to new materials. (Emlékmű a II. világháború székesfehérvári áldozatainak /Memorial for the victims of the Second World War in Székesfehérvár/, A forradalom lángja /Revolutionary Flame/).
