About the project “Pillars of home” are ninety-eight – 30 minutes long – balancing sculptures by Csilla Klenyánszki. The floor-to-ceiling constructions relay on their own inner stability while being framed only by the floor and the ...
About the project
“Pillars of home” are ninety-eight – 30 minutes long – balancing sculptures by Csilla Klenyánszki.
The floor-to-ceiling constructions relay on their own inner stability while being framed only by the floor and the ceiling. The in situ installations are being made during my son’s naps, when our home becomes a studio for no more than a half an hour.
The colorful hand-built pillars vary in size and complexity, depending on their territory. As the objects are being piled up, they become a coherent entity, but their delicate arrangement and balancing structure makes them vulnerable as they can be destroyed at any moment. Not only the existence of the image is in danger if the installation collapses, but the noise of the fallen objects might awaken the sleeping baby, which ends the studio session. The nature of the project allows no self-correction, thus the final image might be imperfect.
The series, besides it’s aesthetic value puts forward a discussion about the problem that affects many emerging artists when they become parents. Without access to affordable child care, and in the particular case of migrant artists – like myself – without even the support of a family network combining an artistic practice with the strict daily schedule of an infant becomes almost impossible. Overcoming this situation isn’t simple, but it is necessary as there is no other choice besides giving up.
Csilla Klenyanszki’s performative interactions can be seen as personal research for balance. A constant attraction to physical and mental tension characterises her work. The projects play with the borders of nonsense; something that looks foolish at first, always finds it right place at the end. The nature of the work is highly playful and experimental, but the approach is rather analytic. Her current practice focuses on gender, the human-object relation and time. Her artistic method balances between installation- and a simplified version of performance art, in combination with photography and video.