The most important characteristics of Orsolya Csilléry’s art are the elaborate craftsmanship of her images, her use of unique graphic techniques, and her cultivation of Hungarian artistic and intellectual traditions. Her works are influenced by Hungarian pastoral art and the beliefs and motifs of folk tales. She completed her higher education at the Hungarian University of Fine Arts, majoring in graphic arts, and at the Scuola Internazionale di Grafica in Venice, majoring in artist’s books.
The title of the exhibition allows for numerous interpretations in light of the artist’s work. In Old Hungarian, the word sárarany referred to pure gold, or yellow gold. This is the state of gold before it is processed, as it is found in nature, in the earth or in streams. In other words, the name of the material functions as an analogy to the process of creating a work of art, since the material becomes a creation, a work of art, through processing. At the same time, the word sár, meaning mud, as a state of the earth or soil, is also exciting for the artist as a substance that is worthless compared to gold, but which, deep in the forest, supplemented with fallen branches and leaves, also forms living matter, humus, which is essential for the life and death of natural beings. Therefore, in this context, it also carries the meaning of passing away. Meanwhile, of course, the subtle clash of the two materials within the compound word, as the two extremes of the scale of materiality, may also arise in our interpretation.
Our exhibition focuses on landscapes inspired by the surroundings of Rome and the Carpathian Basin. These large-scale paintings were mainly created with colored pencils on a watercolor background, creating a unique atmosphere. In addition to the usual color palette for landscape depictions, the artist boldly uses shades of yellow and purple to color the sky and ground. The main organizing principle of these landscape portraits is the motif of trees, both as components of the forest and as planned landscape elements in man–made gardens. These images can also be understood as spiritual maps, in which both the human and cosmic scales can be represented simultaneously.
In addition to the landscapes, we also present a selection of Csilléry’s book illustrations. This applied work fits organically into the artist’s oeuvre, as maintaining her artistic identity is an important consideration when undertaking illustrated books.
In addition to her autonomous graphic work and applied book illustration, Orsolya Csilléry also works in a genre that is very rare today: artist book design. In the case of these books, she completes every single process herself, from design to engraving, typesetting, and printing. We are presenting two such books at the exhibition.