Water is the only material which can be found in all its different states of matter on Earth. Csilla Klenyánszki has laid down a long-term research programme when she started investigating the various qualities, movements, and colours of water, setting forth again and again with a mixture of scientific interest and self-amusing curiosity to find out how water really “works”.

The experiments carried out in her studio are simple, using pieces of material and equipment near at hand, which does not necessarily mean that the outcome is predictable. However evident these may seem, following from the nature of water familiar to everyone of us, several attempts are needed to achieve the conditions recorded on pictures and videos, which are poetic in their everydayness.

The bubble may be increased to a mighty size, the airiness of its movement does not change a bit though; thousands of colours swirl on its surface before – obeying the internal pressure – it bursts (“The Bubble”). This freedom is circumscribed – by a four-dimension cube – in an other experiment, in a way contradictory to the spherical shape of the bubble, which still does not equal the undertaking of squaring the circle though – the thin film of the bubble, albeit for only a couple moments, readily adapts to the extreme conditions (“Tesseract” / “Hypercube”)

Colouring the water allows us to follow its movement, and it offers an extremely suggestive display of how the colours mix. The wells of Klenyánszki evoke the obvious possibility of colour mixing but they do not exploit it. Primary colours remain almost untouched even if the mixing of colours eventuate, mostly in the head of the beholder. The viewer, following the track, actually performs the experiment – in order to solve the puzzle – which attests to how the colours of the liquid may be mixed without their actual physical contact.

The bouquet which is getting colours in front of our eyes – in the form of an interactive colouring book with pages to be turned – speaks in the most indirect and metaphoric way about water, while concentrating the meanings attaching to that particular material which is indispensable to sustain life. (“The Bouquet”)

The originally pale bouquet recorded on the starting picture, in the course of time, takes in the colours appearing in the vase due to the artistic intervention. This intervention, however, is not the usual, common additional picture manipulation but rather an “analogous” support, the know-how of which may be left to the fantasy of the experimenter who is an expert of kitchen operations.

-Nikolett Eröss

The project made possible with the help of the Centrum Beeldende Kunst (CBK) Rotterdam.

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