Page 16 - World of Art magazine (2000)
P. 16

BÉLa cZitroM   finLand

          bela czitroM talk

           I get the inspiration for my works from   Every element and detail in my work is   of this work. I also like this side of my
          real life, presenting my thoughts in a very   always set in the service of the entity, they   working.
          symbolic form. For me the figure of the   are meant to work together. In my works, I   I have always my own way of expressing
          human body is much more important than   use very much my own symbolic language,   myself. When I looked at other artists or
          any abstract forms.                which is understandable to everyone, as   earlier masters, it was to take some
           A piece of art at it’s best can open the   symbols are also a universal language.   technical advice etc., but I never took
          eyes of people who see it and help them to   Artwork also is asking quite much of   anyone of them as “an idol” for myself. As
          look and to treat also those subjects they   physicality, think for example the casting   I feel, you shouldn’t do too much of that;
          feel difficult. I want to have courage   of bronze, which is a very important part   as the inspiration mustn’t come from
          enough to explore the dark side of the                                anywhere outside, but from the inside of
          human mind, to express aspects that                                   the artist himself. As I see, all kinds of
          commonly are denied, even forbidden.                                  experiences of life, good or bad, are a part
           When I think back, I can say I didn’t     work oF artist             of an important capital for this. I have
          choose to become an artist, it was always   is not resPected          found some masters of art very close to
          clear to me. On this path the only                                    myself especially Caravaggio; for in his
          conscious decision I made was to acquire   works oF a sculptural artist were  life I’ve found certain points in common
          myself through education- the technical   Moved to rubbish duMp in turku, Finland  with my own life.
          abilities of artistic expression.                                       Both intuition and rational control must
           Sometimes when it happens that I feel   a sculptural garden constructed by sculptor   be linked together all the time to be able
          myself weak and in need of something to   béla czitrom has been destroyed (from the   to express exactly the vision you have.
          give me strength, I listen to the music of   way  of  the  marine  center  Forum  marinum,    I accept everybody else around what
                                              being  enlarged  towards  the  borders  of  the
          Richard Wagner, which I find very   river  aurajoki  in  turku).  the  ten  pieces  of   ever they are doing as long as they don’t
          powerful and strengthening.         sculpture  in  metal  from  the  garden  of  the   threaten me; if they do, I battle rele-
           It’s important to remain absolutely   former atelier and home of the artist were   ntlessly against everybody!
          independent while working, and for that   found,  broken,  on  the  top  of  a  fully  loaded   I find it really important to give people
          reason I don’t do work to order. In so   platform for rubbish. in the garden there were   elsewhere an opportunity to see my
          doing, the artist always would be obliged   still some parts of the biggest sculptures. the   works, and also I want to see what
          to act on instructions, and that might   artist himself moved away from the way of   happens in the fields of art in other places,
                                              the  marine  center  over  two  years  ago,  but
          badly limit the freedom of the artistic   the  sculptures,  the  tallest  being  over  two   not only in my own little corner of the
          expression.                         meters in height, had to be left in the garden   world.
           Any kinds of reviews or criticism don’t   of his long-time residence. the artist, living    The critics have absolutely nothing to
          insult me. A review is only one single   in a rental apartment, is asking where he could   give to me. The media has a great power
          person’s opinion, not the absolute truth.   have brought his sculptures. as big as they   nowadays, and it keeps using it to raise up
          Many critics keep telling you only what   are, it would have been necessary to have a   some artists and forgetting some others.
          you have done and how you should have   lorry and some special equipment to move   This kind of success created by the media
          done it, to be able to valuate a piece of art   them. When czitrom finally managed to find   is illusionary. Only in the course of time
                                              a  place  in  the  countryside  where  he  could
          like this the critic himself should be   place his works, he found them in pieces.   will we see which parts of the con-
          perfect! In fact, the critic finally is                               temporary art will survive and show being
          dependent on the artist, not the contrary.               anneli tukia  of lasting importance.

             deMon ii
         1999 bronze and
         h 40 cM, 15¾  in

         1999 bronze and
           h 43 cM, 17 in

             deMon iv
         1999 bronze and
          h 44 cM, 17¼ in

                                                                                            deMon i
                                                                                            1999 bronze and
                                                                                            h 33 cM, 13 in

                                                                                           photographs by olli jurvainen 1999©

         14      world of art     spEcial issuE 2000
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