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PÉRELI, Zsuzsa
PÉRELI, Zsuzsa
textile artist
(Budapest, 8th July, 1947 – ) 1969-1974: College of Applied Arts, Budapest. 1980: Grand Award of the 6th Wall and Spatial Textile Biennial; 1981: Munkácsy Award; 1989: Standard Award; Separate Award of the 11th Wall and Spatial Textile Biennial; 1993: Environmental Protection Award; 1998: Award for Hungarian Art. From 1994 onwards she has been a member of the Széchényi Academy of Literature and Fine Arts. Péreli was one of the reformers of Hungarian Tapestry Art during the 1970's. Her art was determined primarily by the world of the centenary and of the Austro-Hungarian Monarchy. The beginning of her career is demonstrated in a fine manner by her work entitled Fa /Tree/ of 1974, which contains a number a secessionist motifs. The work entitled Régiség /Antic/, awarded at the textile biennial of Szombathely in 1976, consisting of a round shaped gobelin, applied with antic flower brocade pieces, depicting a castle, was a style producing work of hers. This work already contains all the archaic style elements, which characterize her later works. The photographs of the centenary had a huge influence upon her work. The mood of these old photographs, radiating evanescence may be felt in gobelin works such as Amnézia /Amnesia/ (1980), a Võfély /Bridesman/ (1983) and Egy kercaszomori búcsú emlékére /In memoriam of a parish-feast of Kercaszomori/ (1981). The key work of her pieces woven around the end of the decade was the textile object entitled 1989 Karácsony /Christmas 1989/, produced in 1989. The piece is composed of a icon-plate woven around with golden thread, with the wooden board missing. She applied a number of other items, such as a key, Romanian coins, listening apparatus, and cartridge cases to the golden colored base. Besides her wall carpets woven with a traditional technique, she also prepares objects, drawings, and paper-works. --------------------------------------------------------------------------------------------- The entire career of Péreli Zsuzsa is accompanied by a picturesque vision and usage of materials. This is understandable, since she wished to become a painter ever since her early childhood. She decided at her application exam to the College of Applied Arts that it would be an even greater challenge to prepare wall carpets with the picturesque depiction mode of a painter. Her career began during the 1970's amongst very productive surroundings, since textile art had only just won its place as a separate art genre in Hungary. The entire life work of Péreli is filled with unbounded picturesque, she used colored threads instead of paintbrushes, however to produce her works. She composed her own works, kept them in her memory, and prepared them with months of hard work. She also developed new weaving techniques during the course of the weaving process. Her life work depicts how the gobelin may provide thousand and thousand of possibilities to a creative individual, through it even the most everyday object can gain complex meaning, and is capable of conveying both thoughts and feelings. Such techniques as the incorporation of feathers into her works (Asta Nielsen, 1978), the color and reverse of the dual-sided gobelin (Amnézia /Amnesia/, 1980), the incorporation of different objects (Aranykor /Golden Age/, Boldogasszony /Blessed Virgin/, Ereklyetartó /Relic Repository/, 1989 Karácsony /Christmas 1989/, Tájkép Xx. Század Vége /Landscape at the end of the 20th Century/), the hanging of the carpet into the frame of a found object (Lakók Jegyzéke /Resident's Inventory/, Faliszék /Wall-Chair/) all portray her respect of tradition and coinciding aspiration towards the avant-garde. Her work entitled Amnézia /Amnesia/ brought Péreli breakthrough success in 1980, not only as the winner of the textile biennial, but also as the reformer of Hungarian textile art. The breaking up of the boundaries of the textile genre brought forth the possibility of conveying much more complex contents: besides old photographs, dusted off, found objects, saint and profane themes entered the "thread-weavings" of Péreli. A large proportion of her oeuvre deals with metaphysical and sacral themes. The source of these works is primarily the baroque images found in icons of the Eastern Church, and the monasteries of the Catholic Church. The traditional image of Madonna with child arises often, always in a new manner of depiction. Péreli mediates between two worlds, she demonstrates and translates everything that may be known of non-material reality, similar to the angel floating between the sky and the earth in her wall carpet work entitled Aequilibrium /Equilibrium/, produced in the year 2000. Over the past few years, besides the long process of gobelin weaving, Péreli has been active in the preparation of works in the more dynamic genre of collages. The series entitled Dejá vu is a collection of paper relief works composed of image and script prints and forms, conveying a quite unique effect. The works produce an effect in which it seems as if a director were jumbling the segments of plane, space, and time in a film, thus projecting the many frames a film onto one another. This effect suddenly brings to light the number of hidden repetitions that are hidden within the series of frames, raising the same anxious notion again and again. These self-examining, analytic constructions are the most up-to-date interpretations of the inherent connections of her life work. (KogArt sajtó, 2004)
(Budapest, 8th July, 1947 – ) 1969-1974: College of Applied Arts, Budapest. 1980: Grand Award of the 6th Wall and Spatial Textile Biennial; 1981: Munkácsy Award; 1989: Standard Award; Separate Award of the 11th Wall and Spatial Textile Biennial; 1993: Environmental Protection Award; 1998: Award for Hungarian Art. From 1994 onwards she has been a member of the Széchényi Academy of Literature and Fine Arts. Péreli was one of the reformers of Hungarian Tapestry Art during the 1970's. Her art was determined primarily by the world of the centenary and of the Austro-Hungarian Monarchy. The beginning of her career is demonstrated in a fine manner by her work entitled Fa /Tree/ of 1974, which contains a number a secessionist motifs. The work entitled Régiség /Antic/, awarded at the textile biennial of Szombathely in 1976, consisting of a round shaped gobelin, applied with antic flower brocade pieces, depicting a castle, was a style producing work of hers. This work already contains all the archaic style elements, which characterize her later works. The photographs of the centenary had a huge influence upon her work. The mood of these old photographs, radiating evanescence may be felt in gobelin works such as Amnézia /Amnesia/ (1980), a Võfély /Bridesman/ (1983) and Egy kercaszomori búcsú emlékére /In memoriam of a parish-feast of Kercaszomori/ (1981). The key work of her pieces woven around the end of the decade was the textile object entitled 1989 Karácsony /Christmas 1989/, produced in 1989. The piece is composed of a icon-plate woven around with golden thread, with the wooden board missing. She applied a number of other items, such as a key, Romanian coins, listening apparatus, and cartridge cases to the golden colored base. Besides her wall carpets woven with a traditional technique, she also prepares objects, drawings, and paper-works. --------------------------------------------------------------------------------------------- The entire career of Péreli Zsuzsa is accompanied by a picturesque vision and usage of materials. This is understandable, since she wished to become a painter ever since her early childhood. She decided at her application exam to the College of Applied Arts that it would be an even greater challenge to prepare wall carpets with the picturesque depiction mode of a painter. Her career began during the 1970's amongst very productive surroundings, since textile art had only just won its place as a separate art genre in Hungary. The entire life work of Péreli is filled with unbounded picturesque, she used colored threads instead of paintbrushes, however to produce her works. She composed her own works, kept them in her memory, and prepared them with months of hard work. She also developed new weaving techniques during the course of the weaving process. Her life work depicts how the gobelin may provide thousand and thousand of possibilities to a creative individual, through it even the most everyday object can gain complex meaning, and is capable of conveying both thoughts and feelings. Such techniques as the incorporation of feathers into her works (Asta Nielsen, 1978), the color and reverse of the dual-sided gobelin (Amnézia /Amnesia/, 1980), the incorporation of different objects (Aranykor /Golden Age/, Boldogasszony /Blessed Virgin/, Ereklyetartó /Relic Repository/, 1989 Karácsony /Christmas 1989/, Tájkép Xx. Század Vége /Landscape at the end of the 20th Century/), the hanging of the carpet into the frame of a found object (Lakók Jegyzéke /Resident's Inventory/, Faliszék /Wall-Chair/) all portray her respect of tradition and coinciding aspiration towards the avant-garde. Her work entitled Amnézia /Amnesia/ brought Péreli breakthrough success in 1980, not only as the winner of the textile biennial, but also as the reformer of Hungarian textile art. The breaking up of the boundaries of the textile genre brought forth the possibility of conveying much more complex contents: besides old photographs, dusted off, found objects, saint and profane themes entered the "thread-weavings" of Péreli. A large proportion of her oeuvre deals with metaphysical and sacral themes. The source of these works is primarily the baroque images found in icons of the Eastern Church, and the monasteries of the Catholic Church. The traditional image of Madonna with child arises often, always in a new manner of depiction. Péreli mediates between two worlds, she demonstrates and translates everything that may be known of non-material reality, similar to the angel floating between the sky and the earth in her wall carpet work entitled Aequilibrium /Equilibrium/, produced in the year 2000. Over the past few years, besides the long process of gobelin weaving, Péreli has been active in the preparation of works in the more dynamic genre of collages. The series entitled Dejá vu is a collection of paper relief works composed of image and script prints and forms, conveying a quite unique effect. The works produce an effect in which it seems as if a director were jumbling the segments of plane, space, and time in a film, thus projecting the many frames a film onto one another. This effect suddenly brings to light the number of hidden repetitions that are hidden within the series of frames, raising the same anxious notion again and again. These self-examining, analytic constructions are the most up-to-date interpretations of the inherent connections of her life work. (KogArt sajtó, 2004)
