Vörösmarty: Csongor and Tünde 1995

Editor: Here we have Maria Bozoky’s "Vörösmarty: Csongor and Tünde", made in 1995. It's a watercolor painting. I'm struck by the wispy lines and almost unfinished quality, yet it clearly depicts a figure in a theatrical pose. How do you interpret this work, especially given its title referencing a play? Curator: It is fascinating how the application of watercolor in this piece both evokes a sense of immediacy and participates in a larger material history. We see, quite literally, how labor and consumption participate within Bozoky’s creative production through the material components and means of creation. How can the material act of creation here challenge conventional art-versus-craft boundaries? Editor: That’s a really interesting angle. The loose brushstrokes do feel almost like a craft process, not the calculated strokes of traditional painting. It’s also thought provoking that the work has been made using watercolor techniques. Is that the element connecting the process and Bozoky’s artistic labor in that era? Curator: Exactly. Watercolor itself is not a precious medium, traditionally used for sketches or studies, yet Bozoky has deployed it for a subject referencing a significant play. And look at how the “sketchiness” contrasts the implied labour – time and effort – of preparing for a stage production. It almost speaks of the economic realities facing artists and theatrical productions. This prompts the questions of: How can she manipulate watercolors to make political economic statements? What does this reference tell us about the state of theater? Editor: I hadn't considered it in that light. I was focused on the theatrical, performative aspect but now, I see how the materiality opens up questions about the resources available to stage such a performance, and the very labor involved in art-making. Curator: Precisely. It reveals a hidden dimension, and allows us to think more critically about the social and historical context. Editor: That's given me so much to think about – thank you. I'll definitely look at paintings with a greater appreciation for the materials and labour that produced them.