(…) It is no wonder that in this genre, ceramicists dare to produce only modestly sized objects, since for sophisticated pieces, a “sacred,” “cultic,” or at the very least “mythical” character has become almost mandatory. This is why Antal Pázmándi stands out from the camp of those committed to autonomous art forms; with stubborn consistency, he shuns historical references and consistently interprets autonomous sculpture as autonomous sculpture—as something possessing spatial extension, a constructed nature, and structure. He consciously employs space-forming schemes, the combination of which, in contrast to schematism, is built upon the dynamic counterbalance of varying scales, textures, and qualities. Smooth, undulating, and perforated surfaces, space-dividing grid structures, the unity emerging from differing qualities, and intentional contingency and fragmentation complement one another. Pázmándi casts his vote in favor of continuing the classical avant-garde tradition (…)
Orsolya Kovács