SPACE OUTGROWING ITSELF

The sculptress Ágnes Péter has put a complex work, con centrating complicated effect - systems and flashing abstract meanings, into the Herman-hall of the Fészek Artist Club of Budapest, a circular room covered with black drapery. In the left part of the work fitted into the dark exhibitlon hall the three dimly glittering steel-rectangles supported creased, rusty, lying iron plate elements cut up in three phases from left to right - here lead - foil rolls were lying on the floor, whereas in the rightside part ironplate pyramids of different heights rising toward the space-centre were standing turned with their lead marquetry toward the the work's centre. Between the two rows of elements a more than two - metre high cube cut at the edge was standing -in this way it opened in a triangular form In its interior a line drawing of light constructed of circle and ellipse moving vertically was heated up mysteriously in ultraviolet light steered for a given time The flashing and light absorblng surfaces, the hard and soft materials, the formations and relations dissolving symmetry and aeating assymetry, the appearance of geometrical and amorphous forms beside each other, the alteration of planes and bodies, the action happening between given time intervals composed into the work, unfold the world of this monumental, mysterious sculptural phenomenon.

The world - war monument of Ágnes Péter in Szabadszállás is shaped of stone blocks which can be incorporated into rectangular triangle- silhouettes creating and radiating a calm and strange atmosphere The perpendicular sides of the four rising blocks are firmly worked sharp edges, whereas the hypotenuses are fragmentary and slashed The complementary and contrasting presence of smoothly polished and rough, unworked surfaces, of regularity and Irregularity, the visual evocation of building and destruction suggest the tragic contents behind the work and at the same time animate the majestic world of effects creating and demanding solemnity. The forms and marble blocks of the

monument in Szabadszállás carry the contrast of persistent survival and slow evanescence Between the brokenly rising monument elements placed opposite each other, which can be interpreted also as the separated and cut - up pieces of a pyramid, tension is induced and this gives birth to the monument - space separated from the outher world but connected with saturated with the painful absence and its meaning In the work of the sculptress this is the first public - square sculpture with the claim to lastingness, apart from pieces made for sym osiums artist colonies and exhibitions, reaching beyond them (primariÍy those connected with the Commune of Dunaújváros) , their sculptural idiom Is abstract, and they determine and signal their interior centre

In Dunaújváros, in the park strip on the earth wall rising above the Danube on city level - where perspectives, heights, dephts, limits and limitlessness merge mysteriously, and where among the excellent works created in the artist colony, working mainly with iron and steel, where outstanding pieces were created such as the prism-sculpture of Ferenc Friedrich and the music-playig "suncoach of Rezsõ Móder-Ágnes Péter's Community, a 550 cm high metal sculpture shaped of tubes and blue steel plates, found Its home in 1989. The work composed of three components Is standing on the lawn of the beautifully kept park, encircled with pine trees, birches and shrub Between the vertical elements raised onto the corners of an imaginary equilateral triangle the distance is 8 - 8 metres. From the pyramids of the steel structures constructed on triangles V- shaped superficies, rising above the triangle- centre of the base, are bending inwards surrounding materials of different workmanship in their superficies open towards the centre: the edge -construction of metal sheets lacerated in fire-creased and rumpled plate ribbons and applications fitted together from tiny particles The pyramid-inlays nourish and animate the illusion of the presence of streams and movements of different directions,

different energies. Beyond these inlay-variations the three elements are not the same the arc of their bending is different from the V-shape framing, the superficies, the basic area of the tube tetrahedron varies, too The separation of the steel - structures and superficies from each -other is an important"sculptural happening in the composition-the other significant characteristic is the tense space surrounded by the three elements, which are penetrable yet full of content - these three elements create an organic unit, a flashing ensemble-acommunity of complex fabric

This work basically determines the trends and pillars ofÁgnes Péter s activities of over fifteen years, since the end of her studies Naturally one can attach to these pillars many important data, events, episodes and works. Illustrating the artists manysidedness, we may mention that the sculpture-registers of Budapest feature her activity In restoration works of the capital's buildings and monuments since the first half of the 1980s. We can learn from her biography that since the mid-80s she has worked several summers In various artist colonies ( Slklós - ceramics, Mezõtúr, Nyíregyháza-bronze casting, Dunaújváros, Gyõr, iron, steel ) and that she appeared repeatedly at exhibitions of different genres (smallsculpture-Pécs medals-Sopron,ceramics-Pécs,sculp tural drawing-Budafok ) She made portraits and fountains ( Hotel Ramada, Budapest ) to order in her workshop she erected a clocktower ( Káposztásmegyer with Enlkõ Szöllõssy , designed ceramic column casing ( Budapest, Hotel Korona;, a repre sentative fountains, ( The County Court of Zalaegerszeg ). Beside designing, creating and executing monumental works with a claim to permanence in interior and exterior spaces, she made exhibition sculptures, medals, drawings, organized one- man shows, won prizes at exhibitions and biennails. Beyond all these we must mention that a very important part of her broad professional activity is her organizatory work for the successful functioning of the

Symposium Society where she works as a manager, and her activity m various other artists groups ( Process, Szinyei Society)

Appreciating Ágnes Pétehs sculptural, artistic ambitions, we can record that she has closed her initial period of figurative representation very soon, and her works lead the viewer into a non-figurative world emphasizing geometry, structure, construction but where the severe, calm, dlsaplined, hard system dissolves in a way, transforms Itself, begins to pass away and starts to live Its own, Indepedent life. The characteristic feature of her works is the dominance of vertically emphasized composition, the attempt to soar which is interrupt, diverted and dissolved. The rising forms, bodies masses, frames, the tetrahedron- and pyramid variations are either space-forming objects guided by their essence creating their centre or placed in it, or objects surrounding, quasi con densing space and determining their centres with their motifs. Her utilization of material is extremely varied: beside noble materials marble, stone, bronze-her sculptures are materialized also In Iron, chrome steel and ceramics In the case of materials their natural appearance is more important than workmanship: beside the brilllantly glittering surfaces she utilizes broken, lacerated cor rosion-eaten elements. Wishing to reveal the Layers and provinces of meaning of this sculpture-considering thatwe have to do with abstract wokrs and Idioms-we can only attemptto Interpret them, and so we direct attention to the artist's ambition to create, and at the same time discontinue their own form and the wish to determine the place of something accurately on the frontier of determinedness and chance

The frequent central element of Ágnes Péter's compositions, the rising V - shape or pyramid is the objecfified trace of space cut out from the infinite not only through its form and mass-with it also limitlessness and inconceivabilityfallapart to theirpatheticpieces

TiborWehner