All the Molds Crack, 2022, glass, bronze, 70 x 30 x 30 cm

All the Molds Crack was inspired by French philosopher, Henri Bergson’s book Creative Evolution. Bergson says the following about the paucity of human perception: “In vain we force the living into this or that one of our molds. All the molds crack. They are too narrow, above all too rigid, for what we try to put into them.” Beyond Bergson’s statement, the thorn as a symbol raises further problems about language and our way of thinking. A thorn is a plant’s self-defence mechanism, its invention. Yet if we do not attribute a “Self” to a plant, then what does it defend?



All the Molds Crack, 2022, glass, bronze, 70 x 30 x 30 cm

“Perhaps the most beautiful and compact metaphor of the exhibition is All the Molds Crack (2022). It comprises a glass bell, a wonderfully beautiful, translucent form created by human beings, in which a rose must have been placed, in particular a cut off, dead flower torn away from its habitat and put under the glass bell jar for aesthetic reasons. A thorn of this dead rose pierces the glass. The something that can no longer be ruled, which is no longer a purely romantic background, a field of golden age fantasies, which is no longer nature that we must save and guard from ourselves and about which we still think that its being only depends on us, breaks into our world – precisely into the consciousness of our world.” Text by György Cséka, exhibition review, A mű, november 2022



All the Molds Crack, 2022, glass, bronze, 70 x 30 x 30 cm



All the Molds Crack, 2022, glass, bronze, 70 x 30 x 30 cm



All the Molds Crack, 2022, glass, bronze, 70 x 30 x 30 cm, installation view: Robert Capa Contemporary, Budapest, Hungary, 2022