Our relationship to the material world is able to express our connection to life itself: what we desire and what our senses long for can show our own deepest secrets. To feel desire for glass – for its sight, touch or peerless brightness – and ’to show the beauty of its material and substance’ mean the starting points of László Lukácsi’s art and his artistic attitude. In order to become something magical that can speak to its viewer, this chemical material simply called silicate needs to go through a very long and difficult process. In Lukácsi’s art this metamorphosis means continuously renewing and reviving experiments that aim at the visualising of a refined sense of form, a simple and noble treating of material and of his pursuing perfect precision.
The colours and the play of light in his glass works of art can show harmony and dissonance at the same time: the elegance of cool blues and sea-greens, and of the geometric forms that bright silver lights create is melted by the warmth of a sudden gold shine and the inner parts that seem to be
separated become united in the precisely worked out glass-objects. His glass-pieces speak about the essence of his ars poetica: everything is important and needs emphasis, there are no negligible parts in them. Graceful lines as well as the plasticity of forms or surfaces are equally worked out as their master knows, every detail is essential because they can represent the totality of a piece of work of art. In this way his glass-works can discover almost all potentials of the material, which is the main intention of their creator. This intention is a kind of eidetic reduction that assumes a hypothetical field that shows the deepest point from where creation can start again and again in order to build up a special glass-world.
The fact that he gives priority to the material can make the play of transparency move, which is one of the main characteristic features of László Lukácsi’s glass-works. This transparency is reached by working and elaborating the inner parts and the surface of the glass at the highest level. As a result of this refined elaboration the meeting of glass and light can create a very exiting effect and reveal the very depth of the material to the viewer who is searching for secrets inside or on the surface of his glass-sculptures. This effect provides the multiplicity of his works: from different points of view the eye is tricked since the viewer feels as if s/he saw various works of art although s/he knows the object is the same. Thus his glasses can represent an entire world and can make the unbelievable believable. Seeing his glass the recipient can move away from everyday problems and listen to and think of the essential questions of life: who are we? why are we here? where do we go to?
The Lukácsi glass-objects are approaching the ultimate artistry of form and they present a continuous dialogue that is going on between material and the creator: his observing eyes and hands are questioning the glass about its wish and intentions; he does not force the material but he offers his hands to let it find its forms. This observing and caring attitude enables glass to show its best, that is to shine spontaneity in ‘a geometrically structured world’ and to present regular and determined forms through organic and more harmonious pieces of work.
Interview by Laszlo Kelemen
Laszlo Lukacsi was born in 1961 in Budapest, Hungary. In 1985 he graduated at the Hungarian Academy of Applied Arts. In 2010 a prestigious prize was bestowed upon him with a gold-prize at the International Exhibition in Kanazawa, Japan. His international reputation stems from his regular participation in exhibitions world-wide.
His contemporary art is characterized by simplicity. The making of his pieces requires stern competency, creativity, and diligence. His personal style is noticed by those who are interested in glass sculpture. His sociable and loyal character is acknowledged by all who know him and his artistic sense comes from his sincerity and pure devotion. Laszlo’s true aesthetic intensions, strict and disciplined as they may be, come straight from the heart to please both his eye as well as the viewers.
Here is this empty glass in my hand, do you see anything artistic looking at it?
The most beautiful thing is when there is liquid in a glass and the sun shines through it; if the liquid is moving, then the projection is much more beautiful.
Do you make plans for your creations?
Although I make plans ahead for my works, at times spontaneity does play a part in shaping my objects. Sometimes a situation requires me to draw technical plans to establish glass measurements and detailed calculations. On the other hand, I would increasingly like to make glass-sculpture that’s not planned in advance.
Are there technologies that you don’t know yet?
I have been involved in this line of work for more than thirty years. When I was a child, my father was working for a glass company, where I had the encouragement and opportunity to try and learn glass-polishing. As a matter of fact since early childhood I had a burning desire to become a glass sculptor. In answer to your question, yes...there are probably technical practices I’m not familiar with, yet.
Do you foresee the time it takes to make a creation?
The ‘required’ time must always be given for each piece.
Why is it important to exhibit your works?
Using the internet the viewer can’t partake with the three-dimensional experience. It cannot replace the involvement of being there in front of one of my pieces. At an exhibition my works can be viewed from several directions, and the viewer will appreciate the subtle but dramatic changes that the light plays with my pieces; the dominant optical effects are captivating.
When did you find your original style?
It took a few years after graduating from the Academy for my style to evolve. When I was attending the academy my constant desire was to become an active artist. Its an ambition that I have fulfilled to my satisfaction.
Did it happen that you started working on a piece, and something entirely different was the outcome?
It had certainly occurred on several occasions! The way it happens is when I would start polishing according to plan, and eventually I start noticing that something more interesting could be done: the glass reveals a more interesting way! And in this approach very often more genuine pieces are created– better ones than the primal concept. This is the gratification of unintentional discovery!
What was given to you by the glass as a material?
Working with glass teaches discipline, cleanliness and respect for the medium. Notoriously, glass is known as a dangerous material and indeed this is true.
Do you use goggles?
When I’m using emery-paper and the water spurts out – I wear them
Does nature take an effect on your art?
Initially I was fascinated by the geometric form, however these days more natural forms are appearing in my works. I’m increasingly getting interested in wavy forms.
What do you think about other artists?
I’m critical of myself, I wouldn’t like to offer opinion when it concerns other artists – its not conducive and doesn’t really make me feel any better about my art.
What direction are you taking artistically?
I dislike art that is meant for effect, "I grab the harder side of things." Sometimes I am my own slave – still I like to work very much, because my ideas eventually come to fruition.
Are your works corrigible?
Glass can be corrected in certain cases with polishing. Usually you can only take away from it. In the state of a metal sculpture substitution can be made. Stone sculptures are the same case but generally it is difficult to correct a glass piece without it being noticeable.
Are you technically always prepared?
It happens that I have to make several tries and experiments, still the outcome wouldn’t reflect my original visualization, many times my tools have to be converted for the sake of the cause.
Who would you say is a good artist?
I don’t think about these matters, I love my profession, I’m a doer. My goal is perpetual unfolding. As time goes by, I’m becoming more impatient. I’m full of ideas – I would like to bring these to effect. Working with glass is very time-consuming. I can’t show up achievement in one day. Sometimes I work on a piece for weeks or months on end.
What is the goal of your art?
Briefly summing it up, I would like to show the beauty of the material. I would like to show "what it knows": the glass and me.
Interview by: Laszlo Kelemen , Budapest, Hungary