Page 16 - World of Art magazine (2000)

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
granite
h 40 cM, 15¾ in

untitled
1999 bronze and
granite
h 43 cM, 17 in

deMon iv
1999 bronze and
granite
h 44 cM, 17¼ in

deMon i
1999 bronze and
granite
h 33 cM, 13 in

photographs by olli jurvainen 1999©

14 world of art spEcial issuE 2000