Can you tell us in which ways are poetry and the fine arts connected?
I try to combine poetry and fine art conceptually at first and the second sometimes formally. In general, I deal with the topic of man, his existence and what the world leaves on him, how it affects him, how he interacts with the environment. This topic may seem too broad, but its essence is a clear and essential memento.
Lucia Hunaday, artist
What does the word mean to you, and what does the color mean?
For me, a word is a tool of communication by which I can express all perceptions of the human senses at length. Although it is sometimes difficult to express emotions in words, I often use a large number of metaphors and transmitted meanings in my work. Working with words seems important to me also because sometimes words are the only thing we have. Colour also builds on emotions. In an incredibly easy way, color can highlight what sometimes the shape itself does not reveal. Whether in painting or spatial media.
Do you illustrate verses with sculpture and in what way?
Sometimes yes, I do. It depends on the idea of the work. The work “Empath” is illustrated with a text about what it means to be an Empath, who it is, and as such a person perceives the world around him. I like to work with text in pictures as well. In the painting "Stories" are quotes of people, my friends who said these words towards me. It says „You are someone special, unique, and important. / There is no one like you on this Earth. / You are irreplaceable. / You are not a person who lives a life passively because you are someone. / You are truly gorgeous. / We are not ideal, so we cannot expect the world will bring us ideal things. “So, it is a painting of independent dialogues, stories, interactions with the idea of a certain motivation, self-confidence, and self-esteem in today's world.
Why did you choose the portrait and the body as a symbol in the works of art?
The portrait and the human body are great inspirations for me. I see in its endless possibilities of showing, means of expression, and forms. I have been always interested in humankind.
How do psychology and philosophy affect your work?
Due to the topic of man, society, and mutual interactions, psychology and philosophy are a source of theoretical information that appears in practice, and I, as the author, am their empirical observer. I like both sciences, seeing and getting to know them in people gives it a completely different value. And then I try to transform this value into art.
What are the traces you carry within you and how do you use them to communicate with your surrounding?
I think that every person carries in them, especially traces and ties from childhood, from growing, from education, from the observation of our loved ones. As he gradually matures, comes self-reflection and self-awareness, of his patterns of behaviour and interaction with our surroundings. Man becomes more and more conscious, precisely based on social ties, dialogues, cooperation, constant human, reciprocal learning, self-observation, and it is this return to the inner self that is the result of communication. Of course, the determination to go forward all the time, not to stand in one place, not to tread from place to place in the same circle is also important…
How do you see recovery from social deconstruction?
It is different. I have a feeling, instead, people should pay more attention to each other in general, they are moving away from each other and closing in on their own lives. By closeness, I mean trust between individuals, respect, esteem, and understanding in all relationships, whether personal or work, and so on. Fellowship seems superficial. We are in an era where we not only literally wear masks, but we even hold several different masks in our sleeves and change them as appropriate. I think the real recovery after social deconstruction will come when we gain the courage to open up consciously and sincerely, to be here not only for ourselves, but also for others, and to work actively together to wake up to a better tomorrow morning.
Are you familiar with the Balkan history of art and literature? If so, when would you single out an artist?
On the topic of Balkan art, I will first mention Marina Abramovic, who for me is one of the best artists of nowadays in her field. As a young woman, she set her priorities and pursued her goals clearly and boldly. Her art is original. Two years ago, I met great young Balkan artists. Marko Chakalovic from Montenegro, a sculptor, and painter who works surreal and allegorically with the theme of man in connection with technologies and material values. Zeljko Vitrovic from Serbia is a hyperrealist painter who depicts the moments of the people of the contemporary world as if they were stopped and forced the viewer to think about what is happening. I will also mention Adelina Gavrila from Romania, who, in addition to graphics and illustrations, also deals with visual poetics in painting. I had the opportunity to spend a few moments with these artists, each of them is unique, the diversity of art and talents has no end to the region.
Which of the Slovakian artists and their colleagues would you single out as worthy of attention?
The art of Slovakia is also diverse. From the past fine art, the sculptor Jozef Jankovič left a very strong influence, whose unique manuscript is still reflected in the works of his students. The beauty of the Slovak people and landscape is presented by life's work in Martin Benka's paintings. Abstract organic shapes can be seen in the pure work of the sculptress Maria Bartuzs. We see the peculiarities of conceptual art in Július Koller, and for me, the important contemporary author is certainly Roman Ondák, who represents the excellent art of object and installation. Of course, we also have a lot of young talents here, from painting, sculpture, graphics, illustration to photography.
How do you find a balance between the media (photographs, paintings, sculptures, poetry)?
I probably don't even try to find a balance between the media. I think that the author should not force himself to create. If he wants to paint, let him paint, when he wants to make sculptures, let sculpting, when he suffers from insomnia (like me), write poetry, or whatever he wants to. I believe that I am not one of those authors who are focused on one medium and further develop it. It's limiting for me. Every idea deserves the form of presentation that suits it best, that best describes it. Of course, always within the possibilities at a given moment or a given life stage and thus the appropriate conditions. In the history of art, many authors have devoted themselves to several media at once, but history does not teach students, it is not talked about, it is almost not presented at all. Once a person is creative and has a creative perception, it is only natural that he will deal with several media. The main thing is to create.
You have exhibited works and won awards in Slovakia, the United States of America and South Korea. How does the concept of exhibiting paintings differ and how is poetry valued in those countries about Slovakia? Does it exist?
The concept of exposing images is not so different. Rather, it is the ability to know which galleries, organizations, and other institutions present the true artistic value of art and which present that commercial creation. Today's digitization offers many opportunities for presentation and art marketing, to enter art and literary competitions, or to apply for an exhibition, such as an online exhibition, practically anyone can. Then it depends a lot on the commission that makes the choice, and whether it's all led by a professional or just someone who does business because he likes it. Some people paint really bad things, they don't know the true value of art, they are not educated in it. Abroad, they receive awards in commercial contests and then present themselves publicly as great artists. The authors lack a self-critical view and at the same time a piece of humility. And this is a global problem.
The evaluation of Slovakian poetry abroad is, once more, individual. I received the positive feedback, in which they highlighted my literary handwriting and grasping topics. On the other hand, there were many rejections because they preferred a simple style and clear elements. It's about who and what prefers, who and what is searching for. But I also meet this in Slovakia. Contemporary poetry is very diverse, I sometimes wonder what is considered for poetry, or art in general. I think that rejection is also important for the author because it can motivate him to improve, not to stop working on himself. In live author readings, I am very pleased with the positive response from the audience and listeners, who always respectfully thank me for writing "poetry of the soul" about life, about people, about ordinary but even more important things, without which one would not be able to exist. I am happy when my poetry touches them, I enjoy being an inspiring woman for them, this feeling is priceless.
Are you preparing a bundle of poems?
I am preparing a bundle of poems, yes. I have been working on it gradually for some time. I'm thinking about the name of the collection that would best capture the content. It deals with love, happiness, but also disappointment and sadness. And a person's private affectionate life is followed by a person's life in an external society. The inner and outer worlds are still interconnected and interact with each other. I think the name will therefore have a philosophical nature.
Can you tell us which monuments you helped restored and are the monuments in Slovakia valued?
I participated in several monument restorations. I started restoring alongside the Academy of Arts, in 2015, in the Czech Republic, although I never thought that I would continue to do something like this, I have remained so to this day. I realized how fascinated I am by historical architecture, all its elements, components, and technologies of its rescue. It's a very proud feeling when you manage to save and restore something that has been destroyed for years and you restore it to its original form. In Czechia, I participated in a Gothic stone castle, a Baroque basilica, or even at the State Historical Opera in Prague. Nowadays I work in a private company in Slovakia, so far I have participated in several smaller projects and in the bigger ones such as the historic building of the Jan Palarik Theater in Trnava, where we are currently restoring the mirror hall in the interior. Two years ago, we were restoring the presidential palace in Bratislava, and recently we successfully managed to save the House of Thurzo in Banská Bystrica, which has a Renaissance reconstruction, but its roots go back to the Middle Ages. Monuments in Slovakia are slowly starting to be saved, but finances are an important element. I think that the value of cultural heritage should not lag behind and not let the monuments just fade away at all. Unfortunately, we still have many monuments in Slovakia, which become ruins, because they are not used in private or public. It is also their public use and function that are the donors of the financial provision of a quality restoring renovation. I hope this field will go better and better and people will more realize how relevant is to save our history for future generations.
Translation and editing:Nataša Lujić Nović