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The exhibition of Jozef Kužidlo at Rovás

written by Kovács Ágnes
translated by Zoltán Bartko 2015-05-16


The exhibition of  Jozef Kužidlo at Rovás


     The Rovás Academy in Košice, Slovakia is hosting an exhibition of the works of Jozef Kužidlo, sculptor and restoration specialist in May 2015. 


     As Jozef Kužidlo remembers the moment, which determined his career: "It was a nice sunny day back then. In Skladná street, Košice, Slovakia, one could hear the sound of a hammer and a chisel. Pieces of stone were flying around the garden and the stone gave birth to a damned statue. An introverted statue - no magic could hide its pain in the stone. I have kept the will, conceived back then, looking at Jani [Johnny] - the sculptor himself. Jani was my uncle - he was the one who brought the space in me to life, along with the desire to seek this space. This led me to my studies in Košice and in the Czech Republic." In the Czech Republic, it was the exhibition of Ladislav Zívr, which changed the life of the young sculptor, leading him to seek the unknown in Czech sculpting.  


     Even the small gallery in Hořice, Czech Rep. allowed him to meet the elite of the Czech sculptors, such as Qido Kocian, Suchard, Šturs, Bílek, Vágner, Otakar Švec or Šaloun, the author of the stone memorial of John Hus. Zívr and Gutfreund influenced him for a lifetime - Zívr as a synthetic and Gutfreund as an analytic artist. Their works are very attractive, with a deep spiritual content.


     Jozef Kužidlo entered the spheres of Rovás in 2012 - he became a member of eNRA, the International Creative Community of Rovás. At the exhibitions of eNRA - such as in Baja, Hungary or Budapest, Hungary, here at the Rovás Academy and in Rožňava, Slovakia - one can always meet the cubist busts of Jozef Kužidlo. 


     The ever recurring theme in the sculpting works of Jozef Kužidlo are heads. This is how he feels about it: "Why the head? The head was the first thing impressing me - faces tell stories sooner than mouths: they may have an understanding and loving look; they may depict worries, fear, pain, disorientation, despise, pride, superiority, stupidity; it can be a drawer full of high thoughts but also sins, baseness and betrayal. It is a space-in-space composition, an interchanging clear line and a clear surface, ever searching for feedback as to the reason in all of this. After taking a longer look, the seeming formalism vanishes and the answer to the question "Why the head" appears.



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