Szilvia György

Artist Statement

The Deconstructed series originates from Szilvia’s difficulties with walking stairs, both literally and metaphorically, this experience led her to play with gravity in the porcelain works.

She uses smooth white porcelain clay, which is formed traditionally on a potter’s wheel. The forms are sliced and then rearranged prior to high temperature firing. Their success is often determined due to the skills of understanding the fine balance of weight. A lot of change happens inside the kiln due to the pyroplasticity of the porcelain.

Flying by Numbers is a term used in training airline pilots. During those first few important hours of flight training, a student pilot is asked to memorize lots of numbers—airspeeds, power settings, runway headings, etc. The more experience a pilot accumulates, the easier it is to control the airplane by feel because the numbers become, in a sense, ingrained in how we fly.
Szilvia experienced watching a young Australian lorikeet learning to fly over a few weeks. The beginnings of his attempts were ruled by gravity mostly-so he fell like a stone-, but as he gained strength and grew longer wings, he slowly became an acrobat in the labyrinth of trees.
This body of work investigates how much we navigate by numbers and at what point we start developing that feel in our practice.

At the very beginning of her practice, the best part of the wheel throwing lessons were when the teacher cut the pot in half to show the thickness of the wall. The cross section that is revealed through the process of cutting has been engaging her ever since.

Drawing Blindfolded is body of work that is a continuation on the paths that were laid out in 2014 in two collaborative exhibitions; explorations in geometrical nuances with a sculptor, as well as explorations of compositions of still life with a painter.
These light sculptures are made from porcelain slabs which are layered, etched, and imprinted drawings that allow the light to create depth and form.
These drawings only reveal themselves after they are fired and finished, hence the name Drawing Blindfolded.
Working with materials like porcelain offers harsh physical rules, and gives her the limit that in turn gives form to ideas that are limitless.

She is specially drawn to the overlap between art, sculpture and it’s residual function as design. Light is an unlimited raw material and offers endlessly rich pallet of colours.