TRANSCENDENTAL REALISM

Viewing the works of Ágnes Péter one Is forced to experience intuitionally the artist's message being a subjective existence interpretation and an inner imagination about the unity at the same time, totality of the world and about the essence and connection of things, phenomena - simultaneously, it is a mysterious system of symbols reminding us of totem-fragments, devined monuments of ancient or future cultures - it makes us suspect unknown forces, calls upon the understanding of higher spiritual contents to be brief, it speaks to us and stimulates us to think and experience hazy feelings and senses.

The magic harmony of power, intelligence and emotion radiates from the works of Ágnes Péter also fascinating those who do not wish to absorb in the reading of the meanings. The artist, just like the philosophers, Is thinking in a conceptual sphere while working Her sculptures corporealize ideas which, however. trend towards more far and close transcendened reality beyond the idea. They search for hidden characteristics, qualities, principles, mey interpretphenomena, recall cultic places, mystic forces. During creation, Ágnes Péter simplifies the meditation-object, taken out of the reality, to elementary forms, geometrical frames. space-figures and organic symbols, she abstracts it into signs and puts it back to its original connection.

The steps of the replacement show the change in the artistic thinking - see periods of the creator her plastic signs first get into real space, then to its abstract framework and in the end into the architectural symbol-system of manifold coded spiritual spaces.

As regards the content, on one hand we recognize concrete space - time relations human relations, sensual-percepfonal images reflecting the happenings of nature and society - on the other hand much more elaborate plastic systems, plastic medi tation pictures which incorporate universal principles into one system.

As regards form features in case of the former ones the willingly irregular - first of all geometrical - shapes, industrial materials, metals, rough, crude, rusty, machine-made surfaces combined and the regular frameworks are of outstanding importance, while later so are the closed, hand-made elemental forms and bodies, the building upon associative expression possibilities resulting from surface and structure differences among the various materials, so the symmetric, regular body -structures and open geometrical space-signs built out of closed forms and the light. Two determinative motifs of Ágnes Péter are characteristic the transubstantiation of metals into impression and turning it back into an Idea, the recent means of which are the unreal shine of the light-powder and the plastic recall of the form elements and space structures of magic art.

We can only observe her pieces of art if we go around them during this we become participants of a particular, one-man ritual In her installation-rooms the rhytmic recurrence, permutation and form-variation of the motifs- sculptures-according to an inner rule or the reciprocation of unfolding and disappearing of inner details enlightened by concentrated lights filtering from dark, geometric figures, high streching bodies, afford a strange experience.

While examining physically and intellectually, the given space opens ap gradually, and by intense experiencing and reading the sense of the meaning-layers it all organizes itself to a permanently widening spiritual-Intellectual system.

In the works of Ágnes Péter made in the recent years and in her present language of expression the sign-images of everyday life are replaced by the endless space-time-power relations and principles of the cosmic reality.

Her works essentially, are settled meditation-pictures, results of intense meditation and the recall of forgotten sensual experiences which, with their simple-structured purely logical inner systems hiding organic life, with their replaceable content, concre tizable symbolic elements, with surfaces conveying associative senses, throw the visible and invisible world onto each other, pointing out their common essence like pictures of the total impression of the only intelligent whole.

Júlia N. Mészáros