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| ANDRAS BOROCZ , NEW YORK (U.S.A.) |
ON HOW THE NEW YORK BASED ARTIST ‘ANDRAS BOROCZ’ MET HIS WIFE .
FROM - http://www.nytimes.com/1995/09/10/style/vows-robbin-silverberg-andras-borocz.html
VOWS – ROBBIN SILVERBERG , ANDRAS BOROCZ
By LOIS SMITH BRADY
PUBLISHED – SEPTEMBER 10 , 1995
SEVEN years ago, when Andras Borocz moved into a loft on Dobbin Street in Greenpoint, Brooklyn, he assumed very few people lived on his mostly industrial block. Mr. Borocz, who is 39 and grew up in Budapest, moved to New York in 1987. He rented the Greenpoint loft so he could have more space to work on his sculptures, which he makes out of everything from loaves of bread to wine corks, eggs and logs. About two years after moving in, he began receiving art magazines addressed to Robbin Ami Silverberg. As it turned out, Ms. Silverberg, a paper maker and book artist, lived on the block in a converted horse stable tucked between the factories. They met when he knocked on her door to return the magazines, and she invited him in. To Mr. Borocz's surprise, Ms. Silverberg's space was beautiful and serene, completely different from the scruffy streetscape. There was a courtyard that was reminiscent of Europe; a hay loft Ms. Silverberg had converted into an apartment, and a working paper mill where she made paper from scratch. He left with a mound of pink paper that looked like cotton candy. Soon afterward, she visited him in his studio and was just as surprised at what lay behind the door. "He had just finished carving 17 life-size figures called 'The Hanged,' " said Ms. Silverberg, 36. "These figures, which were made out of logs he collected in the park, were all hanging from nooses under the loft bed. My first thought was, 'I don't think I could ever sleep above those figures.' " At that time, Mr. Borocz (pronounced buh-rutz, with neither syllable accented) spoke Hungarian and broken English, while Ms. Silverberg, who grew up in Montreal and Scarsdale, N.Y., was fluent in English, French and German but knew no Hungarian. Nevertheless, they managed to communicate. "There is a language we both understand very well -- visual arts and the philosophy of art," Mr. Borocz said. Their romance began gradually. They collaborated on a few projects together. Then they started eating meals together and almost reluctantly became crazy about each other. "We worked together so well both of us thought, 'Why ruin this by falling in love, which is so difficult?' " Ms. Silverberg said. As it turned out, falling in love was easier than they expected, and the couple now live together in the converted horse stable. Mr. Borocz is currently working with pencils, which he carves into elaborate miniature figures. "He's a pencil man, and I'm a paper woman," Ms. Silverberg said. Pencils and paper were the theme of their Jewish wedding ceremony, which took place on Sept. 4 at Bargemusic, a converted coffee barge tied up at Fulton Landing in Brooklyn. The couple collaborated on the paper chuppa, which showed a print of her hand next to one of his. They looked like hand prints young lovers might leave in snow or wet concrete. The bride made the brown paper runner for the center aisle. It looked like the crosswalk at an intersection. The striped lines were made of crushed eggshells, pencil lead and tea leaves, and it was meant to illustrate the couple's crossing into marriage. Several of the 90 guests were artists and wore outfits that looked like dresses or suits that might be seen in the window of an art-as-clothing shop. The bride, who often works in a jumpsuit, wore a fancy blue one custom-made by Marianne Novobatzky, a Hungarian designer in SoHo. Ms. Novobatzky also made the bridegroom's high-waisted linen pants, with a matching jacket that had pockets big enough for paintbrushes. One of the guests, Louise McCagg, a sculptor, talked about the "girl meets boy next-door" aspects of their romance. "It doesn't happen like that very often," she said, "especially on Dobbin Street, where everything is heavy industry and factories grinding and thudding and crunching and groaning all day long. And here were two artists living side by side."
SOURCE - http://andrasborocz.com/
CONTACT – András Böröcz 50-52 Dobbin Street Brooklyn, NY 11222
EMAIL - a.borocz@gmail.com
FROM - http://www.nytimes.com/1995/09/10/style/vows-robbin-silverberg-andras-borocz.html
VOWS – ROBBIN SILVERBERG , ANDRAS BOROCZ
By LOIS SMITH BRADY
PUBLISHED – SEPTEMBER 10 , 1995
SEVEN years ago, when Andras Borocz moved into a loft on Dobbin Street in Greenpoint, Brooklyn, he assumed very few people lived on his mostly industrial block. Mr. Borocz, who is 39 and grew up in Budapest, moved to New York in 1987. He rented the Greenpoint loft so he could have more space to work on his sculptures, which he makes out of everything from loaves of bread to wine corks, eggs and logs. About two years after moving in, he began receiving art magazines addressed to Robbin Ami Silverberg. As it turned out, Ms. Silverberg, a paper maker and book artist, lived on the block in a converted horse stable tucked between the factories. They met when he knocked on her door to return the magazines, and she invited him in. To Mr. Borocz's surprise, Ms. Silverberg's space was beautiful and serene, completely different from the scruffy streetscape. There was a courtyard that was reminiscent of Europe; a hay loft Ms. Silverberg had converted into an apartment, and a working paper mill where she made paper from scratch. He left with a mound of pink paper that looked like cotton candy. Soon afterward, she visited him in his studio and was just as surprised at what lay behind the door. "He had just finished carving 17 life-size figures called 'The Hanged,' " said Ms. Silverberg, 36. "These figures, which were made out of logs he collected in the park, were all hanging from nooses under the loft bed. My first thought was, 'I don't think I could ever sleep above those figures.' " At that time, Mr. Borocz (pronounced buh-rutz, with neither syllable accented) spoke Hungarian and broken English, while Ms. Silverberg, who grew up in Montreal and Scarsdale, N.Y., was fluent in English, French and German but knew no Hungarian. Nevertheless, they managed to communicate. "There is a language we both understand very well -- visual arts and the philosophy of art," Mr. Borocz said. Their romance began gradually. They collaborated on a few projects together. Then they started eating meals together and almost reluctantly became crazy about each other. "We worked together so well both of us thought, 'Why ruin this by falling in love, which is so difficult?' " Ms. Silverberg said. As it turned out, falling in love was easier than they expected, and the couple now live together in the converted horse stable. Mr. Borocz is currently working with pencils, which he carves into elaborate miniature figures. "He's a pencil man, and I'm a paper woman," Ms. Silverberg said. Pencils and paper were the theme of their Jewish wedding ceremony, which took place on Sept. 4 at Bargemusic, a converted coffee barge tied up at Fulton Landing in Brooklyn. The couple collaborated on the paper chuppa, which showed a print of her hand next to one of his. They looked like hand prints young lovers might leave in snow or wet concrete. The bride made the brown paper runner for the center aisle. It looked like the crosswalk at an intersection. The striped lines were made of crushed eggshells, pencil lead and tea leaves, and it was meant to illustrate the couple's crossing into marriage. Several of the 90 guests were artists and wore outfits that looked like dresses or suits that might be seen in the window of an art-as-clothing shop. The bride, who often works in a jumpsuit, wore a fancy blue one custom-made by Marianne Novobatzky, a Hungarian designer in SoHo. Ms. Novobatzky also made the bridegroom's high-waisted linen pants, with a matching jacket that had pockets big enough for paintbrushes. One of the guests, Louise McCagg, a sculptor, talked about the "girl meets boy next-door" aspects of their romance. "It doesn't happen like that very often," she said, "especially on Dobbin Street, where everything is heavy industry and factories grinding and thudding and crunching and groaning all day long. And here were two artists living side by side."
SOURCE - http://andrasborocz.com/
CONTACT – András Böröcz 50-52 Dobbin Street Brooklyn, NY 11222
EMAIL - a.borocz@gmail.com
THE FOLLOWING ARE HIS WORKS ( PENCILS )
Constructed and carved pencil figures, each on a base made of pencils.
Varying sizes 4" - 8"
Böröcz had a museum show in Percé, Québec, CA, in 1997. He wrote this text:
“I carved these sculptures thinking about the birds I saw in Percé, the gannets or “Les Fous de Bassan” [meaning, the Fools of Bassan, in French]. It is what the local people of Gaspé call this beautiful seabird.
The unknown “poet” anthropomorphized these birds with this name. People have also called those who are different fools. Because I carve pencils, some think of me as a fool.
If it’s true, in Le Chafaud, a visitor can see pencil sculptures about the fools of Bassan made by the fool of the pencil.”
Carved pencils, carved wood.
The St Sebastian figures carved from a single
pencil are circa 7" high, and the carved mahogany
"Saint Sebastian on the Tennis Umpire Chair" is
about 4' high.
In 1992, Böröcz carved his first pencil Saint Sebastian. Here, the arrows were replaced with pencils. He saw a connection since the pencil itself is a wood object that is pierced with a piece of graphite. Most of the sculptures in this series are miniatures but there are two large pieces. "Saint Sebastian on a Tennis Juror’s Chair", carved from mahogany, shows Saint Sebastianwearing high heels and is pierced with actual "MONGOL" pencils. It is in the collection of the Museum of Fine Arts in Budapest. His drawings of St Sebastian were published in "ÉS”, a Hungarian literary magazine.
FROM - http://andrasborocz.com/
PENCIL BOX SERIES 2000-06
Mixed media, carved pencils and painted boxes made out of pencils, graphite drawing on handmade paper
10" - 30" high.
In the early 1990's, Böröcz started to work with pencils. He carved single ones into figures, keeping some of the color and brand name on their painted "skin". For larger compositions, he glued together numerous pencils and carved them as blocks.
Pencil Boxes was the final series in his totemic and humorous engagement with this object. The figures appear more complex, becoming larger and appearing in groupings. They are presented living in rooms built from pencils, and through their windows the viewer could see cityscapes: detailed graphite drawings about the life of the pencil man in a pencil world. Between the years 2000 to 2006, Böröcz created over 50 of these artworks.
THE FOLLOWING ARTICLE IS BY GRACE GLUECK
NY Times: December 20, 2002.
“The prosaic lead pencil, a tool often used in making art, becomes art itself in the hands of Andras Borocz, a Hungarian-born wizard whose penchant for pencils has led him to make lively tableaus in which they star. In boxes constructed of glued-together pencil bodies, he presents tall pencil figures of Giacometti-like thinness with carved faces topped by eraser hats. Their activities allude to traditional art subjects like playing games and studio activities, but some of them touch on the surreal.
In ''Cardplayers'' two pencil personages game at a hand-carved, miniature round table on which, by way of counterpoint, an ordinary pencil lies. The action gets wilder in ''Knife Thrower,'' where one figure targets another, pinned to a round board with his arms outstretched to form a cross. In a third, ''Centaur/Woman With Fan,'' a half-man, half-horse figure regards a woman seated jauntily atop a tall brick column as she plays with a fan. The walls of each box are enlivened by tiny but readable drawings presumably done by the occupants.
…Magical is the word for Mr. Borocz's work. He is a master of the playful and the precious, but also a robust craftsman. “
PENCIL BOX SERIES 2000-06
Mixed media, carved pencils and painted boxes made out of pencils, graphite drawing on handmade paper
10" - 30" high.
In the early 1990's, Böröcz started to work with pencils. He carved single ones into figures, keeping some of the color and brand name on their painted "skin". For larger compositions, he glued together numerous pencils and carved them as blocks.
Pencil Boxes was the final series in his totemic and humorous engagement with this object. The figures appear more complex, becoming larger and appearing in groupings. They are presented living in rooms built from pencils, and through their windows the viewer could see cityscapes: detailed graphite drawings about the life of the pencil man in a pencil world. Between the years 2000 to 2006, Böröcz created over 50 of these artworks.
THE FOLLOWING ARTICLE IS BY GRACE GLUECK
NY Times: December 20, 2002.
“The prosaic lead pencil, a tool often used in making art, becomes art itself in the hands of Andras Borocz, a Hungarian-born wizard whose penchant for pencils has led him to make lively tableaus in which they star. In boxes constructed of glued-together pencil bodies, he presents tall pencil figures of Giacometti-like thinness with carved faces topped by eraser hats. Their activities allude to traditional art subjects like playing games and studio activities, but some of them touch on the surreal.
In ''Cardplayers'' two pencil personages game at a hand-carved, miniature round table on which, by way of counterpoint, an ordinary pencil lies. The action gets wilder in ''Knife Thrower,'' where one figure targets another, pinned to a round board with his arms outstretched to form a cross. In a third, ''Centaur/Woman With Fan,'' a half-man, half-horse figure regards a woman seated jauntily atop a tall brick column as she plays with a fan. The walls of each box are enlivened by tiny but readable drawings presumably done by the occupants.
…Magical is the word for Mr. Borocz's work. He is a master of the playful and the precious, but also a robust craftsman. “
FROM -http://andrasborocz.com/
PENCIL FIGURE SERIES 2005
The pencil figures inside the walnut cases are about
7" high, the cases vary in size.
Böröcz carved over a hundred pencil figures. He found many visual and conceptual possibilities in this small every day object. The tool for art-making became the material of his art. He used the names of the pencils, either as visual elements, or as part of their titles, like Venus, Mongol, or Black Warriors. The erasers became crowns and hats, the graphite was often genitalia, a neck or the face of these tiny fragile creatures. The figures in this series are carved in wooden cases. Some of these single pencils have been transformed into two figures, often as embracing couples.
PENCIL FIGURE SERIES 2005
The pencil figures inside the walnut cases are about
7" high, the cases vary in size.
Böröcz carved over a hundred pencil figures. He found many visual and conceptual possibilities in this small every day object. The tool for art-making became the material of his art. He used the names of the pencils, either as visual elements, or as part of their titles, like Venus, Mongol, or Black Warriors. The erasers became crowns and hats, the graphite was often genitalia, a neck or the face of these tiny fragile creatures. The figures in this series are carved in wooden cases. Some of these single pencils have been transformed into two figures, often as embracing couples.
FROM - http://andrasborocz.com/
PENCIL FIGURES ON PENCIL BASES 1992-94
Installation of over 20 carved Pencil Figures, each
standing on a laminated and carved pencil base
3' - 5' in height.
ROBERTA SMITH COMMENTS -
NY Times, June 3, 1994.
“The pencil is a drawing tool for most artists, but for Andras Böröcz, who immigrated to New York City from Hungary four years ago, it is the stuff of sculpture. His first solo exhibition is populated by tiny figures, all meticulously carved from one or more pencils. Some depict embracing couples; others are pierced by arrows in the manner of St. Sebastian; nearly all give a new specificity to the film title "Eraserhead." These figures have a charming, slightly illustrational appeal similar to that of Saul Steinberg's objects, while their delicate recycling has something in common with Donald Lipski's transformations of tiny found objects. They also evoke, in a minor key, a long history of carved figures, including African, German Expressionist and Romanesque. As engrossing as the figures are, the tall sinuous bases that raise them to eye level sometimes suggest elongated mangrove roots. These, too, are made of pencils, assembled into larger chunks and carved in such a way that their surfaces are often punctuated by the dots and ellipses of exposed pencil lead. Mr. Borocz works with a genuine feeling for form and scale, although he risks having the sheer eccentricity and technical finesse of his art overshadow all its other attributes.”
PENCIL FIGURES ON PENCIL BASES 1992-94
Installation of over 20 carved Pencil Figures, each
standing on a laminated and carved pencil base
3' - 5' in height.
ROBERTA SMITH COMMENTS -
NY Times, June 3, 1994.
“The pencil is a drawing tool for most artists, but for Andras Böröcz, who immigrated to New York City from Hungary four years ago, it is the stuff of sculpture. His first solo exhibition is populated by tiny figures, all meticulously carved from one or more pencils. Some depict embracing couples; others are pierced by arrows in the manner of St. Sebastian; nearly all give a new specificity to the film title "Eraserhead." These figures have a charming, slightly illustrational appeal similar to that of Saul Steinberg's objects, while their delicate recycling has something in common with Donald Lipski's transformations of tiny found objects. They also evoke, in a minor key, a long history of carved figures, including African, German Expressionist and Romanesque. As engrossing as the figures are, the tall sinuous bases that raise them to eye level sometimes suggest elongated mangrove roots. These, too, are made of pencils, assembled into larger chunks and carved in such a way that their surfaces are often punctuated by the dots and ellipses of exposed pencil lead. Mr. Borocz works with a genuine feeling for form and scale, although he risks having the sheer eccentricity and technical finesse of his art overshadow all its other attributes.”
FROM -http://andrasborocz.com/
LARGE PENCIL FIGURES 1992-94
Laminated and carved cedar pencils
and carved graphite heads,
heights : 5' - 7'.
When Böröcz learned to write in the early sixties in Budapest, his father wrote his name on his pencils, because at that time, they were considered precious.
In the early 90’s, Böröcz carved over a dozen large organic plant-like sculptures from several thousand pencils that he glued together. The catalyst was a desire to commemorate the army of trees, which were used to produce these tools. The hexagon shape of the pencil, which is commonly found in both nature and architecture, also inspired his work.
Some of the figures, which are between 5 – 7 feet in height, have small human heads carved from solid graphite. Graphite is a carbonized wood.
Böröcz exhibited his large and small pencil figures at the first South African Biennial in Johannesburg in 1995, where he represented Hungary.
LARGE PENCIL FIGURES 1992-94
Laminated and carved cedar pencils
and carved graphite heads,
heights : 5' - 7'.
When Böröcz learned to write in the early sixties in Budapest, his father wrote his name on his pencils, because at that time, they were considered precious.
In the early 90’s, Böröcz carved over a dozen large organic plant-like sculptures from several thousand pencils that he glued together. The catalyst was a desire to commemorate the army of trees, which were used to produce these tools. The hexagon shape of the pencil, which is commonly found in both nature and architecture, also inspired his work.
Some of the figures, which are between 5 – 7 feet in height, have small human heads carved from solid graphite. Graphite is a carbonized wood.
Böröcz exhibited his large and small pencil figures at the first South African Biennial in Johannesburg in 1995, where he represented Hungary.
FROM -http://andrasborocz.com/
CARYATIDS 1995-96
Carved wood, ink and pencil drawings, watercolors on handmade paper, painted wood.
Figures: 1 1/8” wide and 26” high.
The caryatid figures are unlike the more common muscular Atlas carrying heavy architectural elements of buildings. Böröcz continues to utilize the attenuated human forms he first developed in his pencil figures. These narrow figures in these wood sculptures are combined with other medium, such as painted silhouette wood forms or ink drawings placed into mahogany frames.
Like the traditional caryatids, these characters are half naked, but they do wear shoes. They are either standing on or holding up framed drawings and painted wood objects. The subject matter of the drawing and of the painted wood elements relates back to the figures themselves -- absurd cartoonish moments composed and literally held together.
CARYATIDS 1995-96
Carved wood, ink and pencil drawings, watercolors on handmade paper, painted wood.
Figures: 1 1/8” wide and 26” high.
The caryatid figures are unlike the more common muscular Atlas carrying heavy architectural elements of buildings. Böröcz continues to utilize the attenuated human forms he first developed in his pencil figures. These narrow figures in these wood sculptures are combined with other medium, such as painted silhouette wood forms or ink drawings placed into mahogany frames.
Like the traditional caryatids, these characters are half naked, but they do wear shoes. They are either standing on or holding up framed drawings and painted wood objects. The subject matter of the drawing and of the painted wood elements relates back to the figures themselves -- absurd cartoonish moments composed and literally held together.
FROM -
http://andrasborocz.com/
HIVE 1996
Carved pencil figures within pencil blocks.
Böröcz orders pencils for his large compositions from a factory - Panda Pencil. When he carved figures form these unpainted pencils he noticed that their hexagonal shape was perfect for gluing together in a hive-like block. Some of these figures are movable, so they can be seen when they are pushed up & out. Other pencil blocks were placed inside one another; built on top of each other, they became towers.
http://andrasborocz.com/
HIVE 1996
Carved pencil figures within pencil blocks.
Böröcz orders pencils for his large compositions from a factory - Panda Pencil. When he carved figures form these unpainted pencils he noticed that their hexagonal shape was perfect for gluing together in a hive-like block. Some of these figures are movable, so they can be seen when they are pushed up & out. Other pencil blocks were placed inside one another; built on top of each other, they became towers.
FROM -http://andrasborocz.com/
GOOD LUCK 2012
[ Good Luck Exhibition,
March 2012 at 2B Gallery, Budapest ]
Pencils, wooden handles, drawings on paper, sizes varied.
In Hungary the two crossed hammer is the sign of the mines and miners. Borocz's paternal ancestors were miners and as a child he spent a lot of time with his grandparents who worked at the mines in Pecs, southern Hungary.
The "Pencil Hammers" are made from found objects. The printed texts on the pencils are important for Borocz: In this series we can see a Mona Lisa pencil from Austria, a Hungarian "No No Never" nationalist/fascist propaganda pencil from the period before WWII with the red white and green colors of the national flag, a "330 Lyra" pencil from Germany, a "Eureka" carpenter pencil from Argentina, and one with the text, "The Hebrew Hospital for the Aged in Brooklyn".
Borocz also made three "Pencil Hammers" with framed pencil drawings attached to their handles about anthropomorphized hammers. The text on the pencils were the inspiration for the drawings. "Sunset" depict a group of hammer figures gathering by the sea shore at down.
GOOD LUCK 2012
[ Good Luck Exhibition,
March 2012 at 2B Gallery, Budapest ]
Pencils, wooden handles, drawings on paper, sizes varied.
In Hungary the two crossed hammer is the sign of the mines and miners. Borocz's paternal ancestors were miners and as a child he spent a lot of time with his grandparents who worked at the mines in Pecs, southern Hungary.
The "Pencil Hammers" are made from found objects. The printed texts on the pencils are important for Borocz: In this series we can see a Mona Lisa pencil from Austria, a Hungarian "No No Never" nationalist/fascist propaganda pencil from the period before WWII with the red white and green colors of the national flag, a "330 Lyra" pencil from Germany, a "Eureka" carpenter pencil from Argentina, and one with the text, "The Hebrew Hospital for the Aged in Brooklyn".
Borocz also made three "Pencil Hammers" with framed pencil drawings attached to their handles about anthropomorphized hammers. The text on the pencils were the inspiration for the drawings. "Sunset" depict a group of hammer figures gathering by the sea shore at down.
FROM -
http://andrasborocz.com/
DOME 2000-07
Hat Forms & Bollard-Shapes,
Glued and carved cedar pencils 8" - 16" high.
The hexagon shape of the pencil makes it a perfect architectural building unit. These sculptures were inspired by examples that were both man-made or in nature. The decorative patterns on the surfaces of these pieces originated from the different angle cuts of the pencils: distorted hexagon shapes with a graphite dot in the middle. Their color comes from these graphite dots.
http://andrasborocz.com/
DOME 2000-07
Hat Forms & Bollard-Shapes,
Glued and carved cedar pencils 8" - 16" high.
The hexagon shape of the pencil makes it a perfect architectural building unit. These sculptures were inspired by examples that were both man-made or in nature. The decorative patterns on the surfaces of these pieces originated from the different angle cuts of the pencils: distorted hexagon shapes with a graphite dot in the middle. Their color comes from these graphite dots.
ANDRAS BOROCZ'S WORKS IN OTHER MEDIUMS
FROM -http://andrasborocz.com/
BIRDS BEAKS 2004
walnut, ostrich eggs,
heights: 12" - 32".
Ostrich eggs were historically used in sculpture, such as the treasured medieval ostrich bird sculptures commissioned by kings, made from silver, gold and precious stones. Besides being exotic, the ostrich represented Christian values. Böröcz's wood and egg creatures are absurd: each has only one leg and each wears a unique shoe. Some also wear hats, and their beaks were transformed into common tools or objects.
BIRDS BEAKS 2004
walnut, ostrich eggs,
heights: 12" - 32".
Ostrich eggs were historically used in sculpture, such as the treasured medieval ostrich bird sculptures commissioned by kings, made from silver, gold and precious stones. Besides being exotic, the ostrich represented Christian values. Böröcz's wood and egg creatures are absurd: each has only one leg and each wears a unique shoe. Some also wear hats, and their beaks were transformed into common tools or objects.
FROM -
http://andrasborocz.com/
FIGURES IN BOTTLES 1999-2000
Walnut or mahogany figures in glass bottles.
Heights of the bottles 9"-16".
In this series, Böröcz extended the genre of the typical ship in the bottle. He constructed minotaurs, toreadors, and drinking bulls inside of milk bottles, and placed Jules Verne-like deep sea drivers into beer flasks. The divers are kept busy around the table, or they try to open smaller bottles with a giant corkscrew. They get air through a wooden cable, which pierces the cork closing their glass container.
Two groups have figures hanging inside wine bottles. The noose for one of them is the shoelace from a giant shoe that is located on the top of the cork of that piece.
Another series, “Haman and his Ten Sons “, consists of eleven ‘groggers’ (Jewish noise-makers). When the bottles are shaken during the Purim celebration, the hanged wooden figures, each with their name carved on their respective corks, hit the glass wall of the bottles and create a sharp clinking noise. Haman is hanging inside a large Kosher Manischewitz wine bottle.
http://andrasborocz.com/
FIGURES IN BOTTLES 1999-2000
Walnut or mahogany figures in glass bottles.
Heights of the bottles 9"-16".
In this series, Böröcz extended the genre of the typical ship in the bottle. He constructed minotaurs, toreadors, and drinking bulls inside of milk bottles, and placed Jules Verne-like deep sea drivers into beer flasks. The divers are kept busy around the table, or they try to open smaller bottles with a giant corkscrew. They get air through a wooden cable, which pierces the cork closing their glass container.
Two groups have figures hanging inside wine bottles. The noose for one of them is the shoelace from a giant shoe that is located on the top of the cork of that piece.
Another series, “Haman and his Ten Sons “, consists of eleven ‘groggers’ (Jewish noise-makers). When the bottles are shaken during the Purim celebration, the hanged wooden figures, each with their name carved on their respective corks, hit the glass wall of the bottles and create a sharp clinking noise. Haman is hanging inside a large Kosher Manischewitz wine bottle.
FROM -
http://andrasborocz.com/
THE HANGED 1988-89
17 carved figures, heights 26"- 6',
Recycled plain wood.
Böröcz met Daniel Carney, a composer from Baltimore, while living in Brooklyn. They decided to create an artwork together, a series of hand carved slit drum figures, hanging from nooses. They chose to work with recycled wood branches from the garbage at the nearby McCarren Park. Böröcz carved the figures, Carney created the sound, hollowing out the wood to pitched the drums. The process took over a year.
The Hanged piece were shown first in 1989 at the Bronx Museum. In 1994, a Hungarian art collector bought the piece and donated it to the Museum of Fine Arts in Budapest.
He also commissioned a music composition by Laszló Dés, a Hungarian composer, along with a film by Hungarian director, Péter Gothár.
http://andrasborocz.com/
THE HANGED 1988-89
17 carved figures, heights 26"- 6',
Recycled plain wood.
Böröcz met Daniel Carney, a composer from Baltimore, while living in Brooklyn. They decided to create an artwork together, a series of hand carved slit drum figures, hanging from nooses. They chose to work with recycled wood branches from the garbage at the nearby McCarren Park. Böröcz carved the figures, Carney created the sound, hollowing out the wood to pitched the drums. The process took over a year.
The Hanged piece were shown first in 1989 at the Bronx Museum. In 1994, a Hungarian art collector bought the piece and donated it to the Museum of Fine Arts in Budapest.
He also commissioned a music composition by Laszló Dés, a Hungarian composer, along with a film by Hungarian director, Péter Gothár.
FROM -http://andrasborocz.com/
BREAD HEADS 1992
Carved loaves of breads.
Varying sizes.
One of Böröcz’s favorite subjects is bread. He uses it as both content and medium. As the basic food group for many cultures, bread is also often a symbol of religion and politics.
This series of sculptures, Bread Heads, were made from breads from a local kosher bakery, Moishe’s. During the period of time that he carved these pieces, Böröcz subsisted mainly on the carved out portions.
More recently, he has also worked with bread in performance, video, drawings and 2 artist book collaborations.
BREAD HEADS 1992
Carved loaves of breads.
Varying sizes.
One of Böröcz’s favorite subjects is bread. He uses it as both content and medium. As the basic food group for many cultures, bread is also often a symbol of religion and politics.
This series of sculptures, Bread Heads, were made from breads from a local kosher bakery, Moishe’s. During the period of time that he carved these pieces, Böröcz subsisted mainly on the carved out portions.
More recently, he has also worked with bread in performance, video, drawings and 2 artist book collaborations.
FROM -
http://andrasborocz.com/
PURIM NOISEMAKERS 2001-04
Carved kinetic sculptures in
walnut & mahogany.
Böröcz felt strongly connected to the noisemakers used for the Jewish holiday of Purim, which are used to stamp out the sound of Haman's name when it is mentioned during the reading of the Esther scroll in the synagogue.
Böröcz focused on their “function” as kinetic objects that have to be used, held, touched, activated by people, unlike "sculptures in the museum”. These noisemakers have figurative elements relating to the Purim narratives: their cogs and the vibrating wood elements are thus transformed.
One of thel pieces of these series is “The Wagon”. Here, the numerous noisemaker shoes are placed within a cattle car, referencing the Shoa.
http://andrasborocz.com/
PURIM NOISEMAKERS 2001-04
Carved kinetic sculptures in
walnut & mahogany.
Böröcz felt strongly connected to the noisemakers used for the Jewish holiday of Purim, which are used to stamp out the sound of Haman's name when it is mentioned during the reading of the Esther scroll in the synagogue.
Böröcz focused on their “function” as kinetic objects that have to be used, held, touched, activated by people, unlike "sculptures in the museum”. These noisemakers have figurative elements relating to the Purim narratives: their cogs and the vibrating wood elements are thus transformed.
One of thel pieces of these series is “The Wagon”. Here, the numerous noisemaker shoes are placed within a cattle car, referencing the Shoa.
FROM -http://andrasborocz.com/
WOOD BOOKS 2006-2009
Carved & painted wood, metal and mixed media
7’’ - 24’’ .
Böröcz created over 20 book-shaped sculptures for the exhibition at the Petofi Museum of Literature in Budapest.
The book is transformed to a display of disassociated objects that reference language. Several of them are kinetic, where, for example, shoes spin around on a carved wooden book. One piece also functions as an acoustic instrument and was used in a performance at the opening of the exhibition by the musician, András Dés.
WOOD BOOKS 2006-2009
Carved & painted wood, metal and mixed media
7’’ - 24’’ .
Böröcz created over 20 book-shaped sculptures for the exhibition at the Petofi Museum of Literature in Budapest.
The book is transformed to a display of disassociated objects that reference language. Several of them are kinetic, where, for example, shoes spin around on a carved wooden book. One piece also functions as an acoustic instrument and was used in a performance at the opening of the exhibition by the musician, András Dés.
FROM -http://andrasborocz.com/
WOOD SCULPTURES 1987-99
The earliest sculptures were made at the Banff Centre, in Canada, 1987, where Borocz received a grant and worked at their professional wood shop. After Banff, he continued to carve in Brooklyn, NY.
Böröcz’s wood sculptures develop out of both his drawings and performance work. Nonetheless, the material has always been important and he gets inspiration from the wood itself and the process of the woodworking.
These sculptures are either built together from different carved parts, like “Broom”, “Domino Women with a Pipe”, ”Smoking Chimney”, “Chess Tower”. Or, sometimes they are carved from a single piece of wood, like “Two Men in a Barrel”, ”Pregnant Woman”, and “Atlas”.
Components of these compositions are objects originally made from wood: like the domino, barrel, chess piece, pipe, etc., which Böröcz enjoys to re-create from that same material, once again.
WOOD SCULPTURES 1987-99
The earliest sculptures were made at the Banff Centre, in Canada, 1987, where Borocz received a grant and worked at their professional wood shop. After Banff, he continued to carve in Brooklyn, NY.
Böröcz’s wood sculptures develop out of both his drawings and performance work. Nonetheless, the material has always been important and he gets inspiration from the wood itself and the process of the woodworking.
These sculptures are either built together from different carved parts, like “Broom”, “Domino Women with a Pipe”, ”Smoking Chimney”, “Chess Tower”. Or, sometimes they are carved from a single piece of wood, like “Two Men in a Barrel”, ”Pregnant Woman”, and “Atlas”.
Components of these compositions are objects originally made from wood: like the domino, barrel, chess piece, pipe, etc., which Böröcz enjoys to re-create from that same material, once again.
FROM -
http://andrasborocz.com/
YAD INSTALLATIONS
[ King St. Stephen Museum, Székesfehérvár, Hungary
May 28 - September 25, 2011.
Samorin Synagogue, Slovakia, 2009 - 2010. ]
Sixteen carved hands, each connected to a folding structure similar to a carpenter's ruler, with wooden inlaid marks.
Materials: oak, birch, cedar, walnut, pine, mahogany,
and poplar woods.
The carved hands are sized from 1" to life-size, and the "rulers" are between 3' - 12' long.
Sixteen carved hands float lazily in the air, each on the end of a wooden structure much like a foldable measuring rule. They reference the Yad, the piece of Judaica that is used to follow text while reading the Torah. In Jewish tradition, the Torah is holy, so much so, that it should not be touched by man or woman. While reading, therefore, a person holds a Yad to make it easier to keep one’s place.
Böröcz played with rulers as a child, called zal stok; he imagined many shapes from this type of folding ruler, such as houses, stars, and people. The rulers were always yellow and now reference the Star of David. The zigzag forms here look more like lightening bolts or lines on a graph. The markings on the wood are not of any measurement but only suggest a meter, and are inlayed into the forms.
The 16 Yads in the Samorin Synagogue (8 left and 8 right hands) are carved from 6 different woods; their different tones are suggestive of different skin colors, and they are of various sizes, from miniature to life size.
Hanging in the air as they do they are much like mobiles that point towards each other and unknown destinations.
TO READ MORE -
REVIEWS - http://andrasborocz.com/
http://andrasborocz.com/
YAD INSTALLATIONS
[ King St. Stephen Museum, Székesfehérvár, Hungary
May 28 - September 25, 2011.
Samorin Synagogue, Slovakia, 2009 - 2010. ]
Sixteen carved hands, each connected to a folding structure similar to a carpenter's ruler, with wooden inlaid marks.
Materials: oak, birch, cedar, walnut, pine, mahogany,
and poplar woods.
The carved hands are sized from 1" to life-size, and the "rulers" are between 3' - 12' long.
Sixteen carved hands float lazily in the air, each on the end of a wooden structure much like a foldable measuring rule. They reference the Yad, the piece of Judaica that is used to follow text while reading the Torah. In Jewish tradition, the Torah is holy, so much so, that it should not be touched by man or woman. While reading, therefore, a person holds a Yad to make it easier to keep one’s place.
Böröcz played with rulers as a child, called zal stok; he imagined many shapes from this type of folding ruler, such as houses, stars, and people. The rulers were always yellow and now reference the Star of David. The zigzag forms here look more like lightening bolts or lines on a graph. The markings on the wood are not of any measurement but only suggest a meter, and are inlayed into the forms.
The 16 Yads in the Samorin Synagogue (8 left and 8 right hands) are carved from 6 different woods; their different tones are suggestive of different skin colors, and they are of various sizes, from miniature to life size.
Hanging in the air as they do they are much like mobiles that point towards each other and unknown destinations.
TO READ MORE -
REVIEWS - http://andrasborocz.com/
FROM -http://andrasborocz.com/
HORSE SHOES & HEEL TAPS 2005 -11
Found objects & string.
Horseshoes are 4" - 5" high.
In popular culture horse shoes represent luck, which is why people place them in the front of their houses or on their cars, or traditionally printed the horse shoe image on New Years cards.
The horse shoe is also the subject of one of Borocz's favorite painting at the Museum of Fine Arts in Budapest:
Bocklin's "The Centaur at The Black Smith".
HORSE SHOES & HEEL TAPS 2005 -11
Found objects & string.
Horseshoes are 4" - 5" high.
In popular culture horse shoes represent luck, which is why people place them in the front of their houses or on their cars, or traditionally printed the horse shoe image on New Years cards.
The horse shoe is also the subject of one of Borocz's favorite painting at the Museum of Fine Arts in Budapest:
Bocklin's "The Centaur at The Black Smith".
FROM -http://andrasborocz.com/
BARRELS ON DUCK & CHICKEN EGGS 1993
8 mixed media drawings on duck eggs and
10 pencil & ink drawings on chicken eggs.
Cardboard box 3.5" x 4.5" x 3.5" .
The similar shape of eggs and barrels inspired Borocz
to create these series, of barrel imagery.
On the duck eggs collaged shredded dollar bills, found in the garbage and recycled, are used in addition to his pencil/ink drawing.
BARRELS ON DUCK & CHICKEN EGGS 1993
8 mixed media drawings on duck eggs and
10 pencil & ink drawings on chicken eggs.
Cardboard box 3.5" x 4.5" x 3.5" .
The similar shape of eggs and barrels inspired Borocz
to create these series, of barrel imagery.
On the duck eggs collaged shredded dollar bills, found in the garbage and recycled, are used in addition to his pencil/ink drawing.
FROM - http://andrasborocz.com/
PLASTER TEA CEREMONY 1987
Heights: 5” - 15”.
Böröcz made this contemplative abstract plaster series using tea bags, corks, eggs, nails and light bulbs. Tea bags and nails in the plaster created erosion-like holes and rust stain colors on the surfaces. The cast eggs and plaster light bulbs are joined with corks.
PLASTER TEA CEREMONY 1987
Heights: 5” - 15”.
Böröcz made this contemplative abstract plaster series using tea bags, corks, eggs, nails and light bulbs. Tea bags and nails in the plaster created erosion-like holes and rust stain colors on the surfaces. The cast eggs and plaster light bulbs are joined with corks.
LINKS TO HIS OTHER WORKS -
BOOKS -
OPEN BOOK SERIES 2011 -http://andrasborocz.com/book_pages/openbooks.html
WOOD BREAD 2011 - http://andrasborocz.com/book_pages/breadbox.html
BUDI SCROLL 2009 - http://andrasborocz.com/book_pages/budiscroll.html
BUDI BOOK 2008 - http://andrasborocz.com/book_pages/budibooks.html
WE LOVE OUR CUSTOMERS 2008 -http://andrasborocz.com/book_pages/welove.html
BAGS 1997 - http://andrasborocz.com/book_pages/bags.html
MISSING LABELS 1996 – 97 -http://andrasborocz.com/book_pages/missinglabels.html
THEY STABD SEPERATED 1994 / 98 -http://andrasborocz.com/book_pages/tongues.html
BREAD HEAD FABLES 1994 -http://andrasborocz.com/book_pages/bhdfables.html
A STUDY OF GALLOWS ON PAPER 1992 -http://andrasborocz.com/book_pages/gallpaper.html
A STUDY OF GALLOWS ON EGGS 1992 -http://andrasborocz.com/book_pages/galleggs.html
A STUDY OF GALLOWS ON WOOD 1992 -http://andrasborocz.com/book_pages/gallwood.html
LIPTON – THE GALLOWS BOOK 1992 -http://andrasborocz.com/book_pages/lipton.html
DRAWINGS –
DRAWINGS IN THE MIRROR 2010 – 11 -http://andrasborocz.com/drawings_pages/mirrors.html
WAGON DRAWINGS 2011 -http://andrasborocz.com/drawings_pages/wagons.html
STUDIES FOR WOOD BREADS 2011 -http://andrasborocz.com/drawings_pages/breadstudies.html
BAUDELAIRE DRAWINGS 2007 -http://andrasborocz.com/drawings_pages/baudelaire.html
HOME SWEET HOME 2006 -http://andrasborocz.com/drawings_pages/sweethome.html
POST CARDS FROM WALDSEE 2004 -http://andrasborocz.com/drawings_pages/postcards.html
THE NEW BIRD ORDER 1997 -http://andrasborocz.com/drawings_pages/birdorder.html
DRAWINGS ON WOOD 1995 -http://andrasborocz.com/drawings_pages/drawonwood.html
TONGUE DEPRESSORS 1994 -http://andrasborocz.com/drawings_pages/tongue.html
BARREL DRAWINGS 1988 – 89 -http://andrasborocz.com/drawings_pages/barreldraw.html
BARRELSONDUCK&CHICKENEGGS1993 -http://andrasborocz.com/drawings_pages/barreleggs.html
PERFORMANCE – ( http://andrasborocz.com/performance.html )
KALITKABAN - http://youtu.be/lkwkBRVCQco
BREADHEAD FABLES - http://youtu.be/VbV-E-diIco
ARTISTS CV - http://andrasborocz.com/cv.html
OTHER ARCHIVES -http://www.adambaumgoldgallery.com/Andras_Borocz2/andrasBorocz_2006.htm
BOOKS -
OPEN BOOK SERIES 2011 -http://andrasborocz.com/book_pages/openbooks.html
WOOD BREAD 2011 - http://andrasborocz.com/book_pages/breadbox.html
BUDI SCROLL 2009 - http://andrasborocz.com/book_pages/budiscroll.html
BUDI BOOK 2008 - http://andrasborocz.com/book_pages/budibooks.html
WE LOVE OUR CUSTOMERS 2008 -http://andrasborocz.com/book_pages/welove.html
BAGS 1997 - http://andrasborocz.com/book_pages/bags.html
MISSING LABELS 1996 – 97 -http://andrasborocz.com/book_pages/missinglabels.html
THEY STABD SEPERATED 1994 / 98 -http://andrasborocz.com/book_pages/tongues.html
BREAD HEAD FABLES 1994 -http://andrasborocz.com/book_pages/bhdfables.html
A STUDY OF GALLOWS ON PAPER 1992 -http://andrasborocz.com/book_pages/gallpaper.html
A STUDY OF GALLOWS ON EGGS 1992 -http://andrasborocz.com/book_pages/galleggs.html
A STUDY OF GALLOWS ON WOOD 1992 -http://andrasborocz.com/book_pages/gallwood.html
LIPTON – THE GALLOWS BOOK 1992 -http://andrasborocz.com/book_pages/lipton.html
DRAWINGS –
DRAWINGS IN THE MIRROR 2010 – 11 -http://andrasborocz.com/drawings_pages/mirrors.html
WAGON DRAWINGS 2011 -http://andrasborocz.com/drawings_pages/wagons.html
STUDIES FOR WOOD BREADS 2011 -http://andrasborocz.com/drawings_pages/breadstudies.html
BAUDELAIRE DRAWINGS 2007 -http://andrasborocz.com/drawings_pages/baudelaire.html
HOME SWEET HOME 2006 -http://andrasborocz.com/drawings_pages/sweethome.html
POST CARDS FROM WALDSEE 2004 -http://andrasborocz.com/drawings_pages/postcards.html
THE NEW BIRD ORDER 1997 -http://andrasborocz.com/drawings_pages/birdorder.html
DRAWINGS ON WOOD 1995 -http://andrasborocz.com/drawings_pages/drawonwood.html
TONGUE DEPRESSORS 1994 -http://andrasborocz.com/drawings_pages/tongue.html
BARREL DRAWINGS 1988 – 89 -http://andrasborocz.com/drawings_pages/barreldraw.html
BARRELSONDUCK&CHICKENEGGS1993 -http://andrasborocz.com/drawings_pages/barreleggs.html
PERFORMANCE – ( http://andrasborocz.com/performance.html )
KALITKABAN - http://youtu.be/lkwkBRVCQco
BREADHEAD FABLES - http://youtu.be/VbV-E-diIco
ARTISTS CV - http://andrasborocz.com/cv.html
OTHER ARCHIVES -http://www.adambaumgoldgallery.com/Andras_Borocz2/andrasBorocz_2006.htm