MIRA MAKAI CREATES TRUE WONDERS OUT OF CLAY
Mira Makai is a contemporary artist hailing from Hungary, known for her innovative work primarily in ceramics, occasionally incorporating textiles into her pieces.
Her artistic style often blends traditional techniques with modern aesthetics, resulting in visually striking and thought-provoking creations.
With a focus on ceramics, Makai explores the interplay of form, texture, and color, pushing the boundaries of the medium to create pieces that resonate with viewers on both an emotional and intellectual level.
“ The Role Of Art Is To Accept That Things Break Down. That Is The Only Way To Get Something New To Emerge.” -Per Kirkeby
Her artworks may range from functional vessels to abstract sculptures, each imbued with a sense of craftsmanship and artistic expression.
Drawing inspiration from her surroundings, cultural heritage, and personal experiences, Makai's work reflects a unique blend of influences, showcasing her ability to transform ordinary materials into extraordinary works of art.
New Faces in Contemporary Ceramics -> Read more...
Through her creative endeavors, she invites viewers to contemplate the beauty and complexity of the world around them, encouraging a deeper appreciation for the art of ceramics and its capacity for storytelling.
Makai's contributions to the contemporary art scene have earned her recognition both locally and internationally, with her works exhibited in galleries, museums, and private collections worldwide.
Best of Ceramics 2022 with Mira Makai
As she continues to explore new avenues of expression and push the boundaries of her craft, Mira Makai remains a prominent figure in the realm of contemporary ceramics, captivating audiences with her distinct vision and artistic prowess.
Mira Makai: Happy Pineapple | 2020 | 40x40x50 cm | Glazed ceramic -> Mira Makai: Green Genie | 2020 | 40x40x50 cm | Glazed ceramic | -> Tiger King | 2020 | 40x40x50 cm | Glazed ceramic | Image Credit by the Artist
Personal Artist Statement by Mira Makai
When making the ceramic objects I am reminded of a childhood scene. I was young and we spent a holiday by the River Tisza, in Hungary.
My favorite game was to fool around with the wet sand of the riverbank.I liked to watch the watery silt first losing its sheen in my hand, then go dry, and finally display another quality in it's cracked and whitened form.
This basic experience planted the roots of my attitude toward painting and sculpture. I like to imagine that in the prehistoric age the process was the same during the birth of the first works of art.
This is the feeling I usually am looking for in my work.
During my University years, after making a lot of graphic prints and studies, I formulated a need for a kind of creation/possession of objects.
Mira Makai: Images from the Studio -> Image Credit by the Artist
This was the main motivation behind my moving to Munich to work with ceramics.
I wanted to have something that had value in itself, without being furnished with the amount and locked behind a frame. I immediately warmed up to ceramics, where works are enduring and really moldable in all respects.
First I planned to realize five or six designs, and their creation was preceded by a long preparation.
After being confronted with the characteristics of the material, getting to know its nature, several options opened up for me. I became liberated from my fear of making errors and at once felt the product to be my own.
When I first made ceramic sculptures, it motivated me to have my own little objects, small treasures.
I didn’t want to illustrate anything specifically, I wanted the association of the spots on the prints and the shapes appearing on the sculptures to begin in the viewer.
Mira Makai: Chasing the ball | 2020 | 150x108 cm | Acrylic on canvas | Image credit: Mira Makai Dodgeball | 2020 | 150x108 cm | Acrylic on canvas | Image credit: Mira Makai
I didn’t want to make characters specifically, I rather saw into the abstract shapes afterward, becoming a figure with time.
There is a vast number of variations in form and color, and there is always the opportunity to incorporate new elements and combine surfaces and effects.
I can be a creator and a viewer of my work at the same time because when after baking I open the door of the kiln, I have to face my work as well as the contingency of the material.
The forms used in my first sculptures (between 2014-2017) are based on a simple observation of nature.
Mira Makai: Moth II | 2020| | 80x90x15 cm | Faux fur and ceramic | Image credit: Mira Makai Beast | 2020 | 170x150 cm | Textile and ceramic installation | Image credit: Mira Makai
Therein reappear the treasures of natural museums, loved and visited by me, such as the structure of minerals and rock, the details of prepared displays under glass, and the transparent innards of amphibians in formaldehyde.
Mira Makai -> The Cuteness Factor at Ludwig Museum
I strive to create a sort of personal Wunderkammer. What I deem important in these works is the duality manifested on the borderline between inviting, vibrant proliferation and revolting yet natural decomposition.
In early 2020, my attention turned to figural compositions. I wanted to add new references to the new works, it was an inner need of mine.
Mira Makai -> CAN Contemporary Art Now Art Fair Ibiza
In addition to the world of natural history museums and palm houses that I like, I wanted to bring in other possibilities for interpretation.
It was then that I decided that I would also like to gather inspiration from the colors of the current running shoe fashion, the pop-cultural fragments, the 3d environment, models, imaginary creatures, and the atmosphere of computer games, which I am well known for my leisure recreation, and incorporate certain motifs into my toolbox.
Mira Makai -> Website
For more information, upcoming projects and exhibitions and her daily art practice we recommend to follow Mira Makai Instagram Account.
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