Tracing the course of Judit Vida’s oeuvre reveals the process that, following the regime change, led her in a new direction in her thinking about ceramic art. Her ceramic works presently showcased at acb Attachment were created in the nineties. While the displayed pieces show some recognizable formal characteristics, more of an ironic approach is taken with respect to their function.
Around the time of the regime change, Vida began experimenting with combining ceramics and metal, resulting in her Déjà Vu series. By the mid-nineties, Vida had abandoned the form she had consistently used until then; the various irregular parts projecting out of her works from this time increasingly move away from their original basis.
Vida’s post-modern style comes to full fruition in Egogeotika, a series created in the second half of the nineties. These works show ornamentation dominated by gold, black and red, with the use of metallic applications also becoming increasingly pronounced.