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To illustrate his methodology and philosophy, Marcel Marois discussed his work, Miroirs–Turbulences, 2000. He deals with negative changes to the world and its environment. He compared its construction to the Coptic composition, a single topic with different images. The pale text blends into an image of buildings and landscape – an electric dam in Quebec, with animals and other allusions. There is a separation between the two sides, a landscape and its explosive disappearance. Marcel has separated from his Gobelins style training to weave what he feels and needs to express.

Marois, also explored environmental issues in the “Rain” series depicting the forest fires outside of Quebec City,  a study of rain and renewal. Marcel works from photographs, then blurs the images. The text of his Rain series, riseing from lower levels, can’t be read, thus provides no answers. These questions are left for the next generation.

In reference to Masked Muses, Riis talked about idols of beauty.  In the 18^th and 19 century the most familiar sculptor in the West was Antonio Canova, who created The Three Graces. What happened to those white marble sculptures? Beauty today is different, he says.  At issue here is what you see and what don’t you see? The three fates are engaged in conversation. He invites you to bring your own interpretation to the work. Jon compared it to the Chinese textile he discussed earlier, noting the use of metallic silk for luster, and his use of pearls. These ladies are mysterious, so wear masks.  He suggested transparency with a bluish thread. His fascination for anatomy grew out of holidays in Italy visiting sculptural masterpieces. 

Rebecca talked about Icarus III, 2002, suggesting that Riis’s version is not a classical figure of the past, rather it shows today’s man. Perhaps “a dot-com guy, who didn’t listen, went too high, and crashed.”  Stevens commented that both artists’ work deal with issues of identity.

The Hungarian Ministry of Culture gave a grant to bring the tapestries to the U.S.  Luckily, many of the artists (with a translator) came to both the opening reception, and to the second gallery talk where they interpreted their work.

Forever by Ildiko Dobranyi depicts a garden, using deliberate color separations as in printing,  a heritage from her father. Her intimate feelings combine with symbols, especially related to color.  Green stands for hope, gold, is the color of eternity, while black implies mortality.

The title of Livia Papai’s Here is Your Crib and Future Grave, 1997, refers to a 19^th century Hungarian poem.  Its three-dimensional and shaped sections, constructed of copper, tin, linen, silk, plumb bob and pencil, depict the continuity of life. She believes that fate determines personality.

 Anna Maria Koszegi generally works small, but The Play of Colors is large, and reminiscent of the verdure tapestries of the 18^th century. She is interested in what is behind the surface, behind to past memories depicted by bark, and dead leaves. Verona Szabo’s feels close to nature and likes to maginify its beauty. She chose the spiraling nautilus of Now and Forever to symbolize the beginning and end of eternity. It color is inspired by orchids in her collection.

Exodus was woven by the group’s oldest weaver, Gizella Solti.  She was at the forefront of the movement toward personal expressions. The same fine blending techniques revealed here are evidenced in her students work as well. The tapestry reveals a doorway into a beautiful flower garden flanked by rows of bombs descending.  It is a reference to Jewish neighbors who were sheltered and hid in  a nearby forest, The soft color of the garden is pleasant even in the face of war. . She thinks about personal responsibility.

Eleonora Pasqualiett’s Cloister installation of five pieces (wool, metallic thread, silk, paper), varies with each site.  The cylinders show an Italian influence of old churches. Rebecca comments on the contemplative quiet of the pieces. Taped columns show more than rectangle on wall, and might be an illusion to the wrapped columns in Tibet and China, as well as a metal factory outside of Budapest, pipes that bring water, and columns falling into disrepair. The images upon them, numbers and other graffiti, make reference to Jewish Hungarians sent away.

What makes these tapestries art?  On first look it is the two dimensional view of composition, color, values, and image. Not until one investigates the meaning of the making of it, does one get the three dimensional or whole view of what the artist and weaving are trying to say. The combination of fine art training with classical weaving has produced control, technical wizardry: precision and sophistication. The blending techniques of Hungarians are so subtle and refined that they offer inspiration to today's American tapestry artists.

Stevens concludes that all of the artists presented are well trained in the fields of art, design, and technique.  They have looked back to historic tapestry weavings to find methods of production for today. They have the firm foundation and  depth of heart. They have dug deep into what they feel about things, and have figured out how to express it.

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