b. 1990, Hungary

Mira Makai Biography

'In most cases, my working method has an intuitive attitude. The first step of this method is to start with an impression; with a colour or with a shape. These impressions take the form of two dimensional compositions. This first step is the first layer of my prints, where I gaze upon the results and draw the conclusions. The second layer in the prints helps to find the direction of the actual work's mood and character. Throughout this process I need not be afraid of the evolving pieces because there is always the opportunity to change what I made. Then begins the next stage: supplementing my two-dimensional works with sculptures. When I work with clay, I usually use the same thought method as in the two-dimensional compositions. If I work with this material, the shape is always the first step. If I am not satisfied, I can change the momentary feeling with the colour and the glaze. The ceramics carry the hard shape elements from the prints. The organic forms too, resemble traits of the paintings. The work perception and the habit are the same, and because of that, the works complement each other. Playing with the materials, the permanent form of the artwork is the result of the process.

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I draw upon a variety of techniques, which I acquired from my studies in the printmaking department at the Hungarian University of Fine Arts. These techniques include working with oil on canvas, lithography, serigraphy and clay and it is the interaction of these techniques with one another that are present in my work. During the post-factum contemplation, I analyse my work. When I unweave the leading strings of the work, I create new associations and new connections between the pieces. In my opinion, the shapes of the statues summon the used motifs from the prints and paintings and I can integrate the seen shapes of the sculptures to the paintings. I pull out the specific gestures from my lithographs and paintings - brushstrokes with the feeling of the curly bowels, geometrical, hard shaped elements, colour gradients - and I use them in all of my works. These recurrent components determine the visual character of my applied technique. I think that the atmosphere and the mood of the works can awake in the viewer any inviting and repulsive feeling. This is the border between the full of life prurience and the deadly rot. I find my works interesting if I can balance in this border with them. The colour's associations offset the floral, vegetal and organic remindful feelings, which are summoned by the shape of the sculpture. My works build up ambivalent aesthetics and consequently, I search for these values in my other pieces.'

Budapest, February 2018

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