ARTISTS
L谩szl贸 Bors贸dy: The Poetics of Roundness
Our gallery is pleased to present L谩szl贸 Bors贸dy鈥檚 (b. 1938) first soloexhibition at acb Attachment. Bors贸dy is a pioneering figure in post-World War II Hungarian ceramic art, whose career spans more than sixdecades. His autonomous artistic pursuits serve as a remarkableexample of efforts to dissolve the bound-aries between applied andfine arts. The exhibition features ceramic works, sculptural objects, wall pieces, and archival documents, offering a comprehensive view of Bors贸dy鈥檚 multifaceted yet highly consistent artistic universe.
He studied under Palk贸 Bors贸dy J贸zsef at the free school in Bonyh谩d,and later graduated in 1963 from the College of Applied Arts, where theartist and head professor Mikl贸s Borsos had the greatest influence onhim. He emerged in the Hungarian art scene at a time of profound trans-formation. He played a key role in reinterpreting ceramics as asculptural medium and developed a distinctive visual language shapedprimarily by modernist abstraction and biomorphic form-making. Hiswork is often inspired by nature, evoking botanical and macro-organic structures while carrying a lyrical tension between materialityand metaphysical depth.Between 1963 and 1986, Bors贸dy worked as a designer at theSzentendre Architectural Ceramics Factory, where he collaboratedwith several people, including architect Mikl贸s Erd茅lyi, a key figure ofthe Hungarian neo-avant-garde movement. There, together with hiswife and creative partner Ter茅z B. Urb谩n, he played a vital role innumerous architectural projects. His large-scale commissions鈥攆romdecorative wall art and fountains to tile stoves鈥攂rought artisticsensibility into everyday public spaces, challenging the traditionaldistinctions between ceramic art and sculpture that persist to this day. In 1986, Bors贸dy founded his own family studio, where he hascontinued to explore ceramic forms with quiet intensity and an experi-mental spirit. His works simultaneously convey intimate tactility andmonumental presence, celebrating ceramics not merely as a technicalmaterial, but as a living substance.
According to art historian Bal谩zs Feledy, Bors贸dy鈥檚 art is char-acterizedby 鈥渃eramics pursued through a fine art and sculptural lens,鈥� confirminghis place among modernist sculptors who use abstraction as a meansof exploring nature. Hallmarks of his visual language include roundedshapes鈥攕pherical, sometimes disrupted, opened, or halved globe-likestructures鈥攐ften accompanied by repetitive motifs and a serial modeof thinking. Bors贸dy鈥檚 signature 鈥渟pheres,鈥� the most distinctiveelements of his ceramic art, echo the ideas of French philosopherGaston Bachelard, who, in The Poetics of Space, explores the pheno-menology of roundness and famously argues that 鈥渂eing is round.鈥� The exhibition The Poetics of Roundness not only highlights the keymotifs of Bors贸dy鈥檚 life鈥檚 work but also underscores its enduringrelevance. In parallel with the 鈥渘ew materialist鈥� tenden-cies incontemporary art and the renewed interest in ceramics, Bors贸dy鈥檚legacy offers a vital perspective鈥攐ne that seeks to unify form andfunction, tradition and experimentation, the built environment and theorganic world into a single grand modernist endeavor.
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Our gallery is pleased to present L谩szl贸 Bors贸dy鈥檚 (b. 1938) first soloexhibition at acb Attachment. Bors贸dy is a pioneering figure in post-World War II Hungarian ceramic art, whose career spans more than sixdecades. His autonomous artistic pursuits serve as a remarkableexample of efforts to dissolve the bound-aries between applied andfine arts. The exhibition features ceramic works, sculptural objects, wall pieces, and archival documents, offering a comprehensive view of Bors贸dy鈥檚 multifaceted yet highly consistent artistic universe.
He studied under Palk贸 Bors贸dy J贸zsef at the free school in Bonyh谩d,and later graduated in 1963 from the College of Applied Arts, where theartist and head professor Mikl贸s Borsos had the greatest influence onhim. He emerged in the Hungarian art scene at a time of profound trans-formation. He played a key role in reinterpreting ceramics as asculptural medium and developed a distinctive visual language shapedprimarily by modernist abstraction and biomorphic form-making. Hiswork is often inspired by nature, evoking botanical and macro-organic structures while carrying a lyrical tension between materialityand metaphysical depth.Between 1963 and 1986, Bors贸dy worked as a designer at theSzentendre Architectural Ceramics Factory, where he collaboratedwith several people, including architect Mikl贸s Erd茅lyi, a key figure ofthe Hungarian neo-avant-garde movement. There, together with hiswife and creative partner Ter茅z B. Urb谩n, he played a vital role innumerous architectural projects. His large-scale commissions鈥攆romdecorative wall art and fountains to tile stoves鈥攂rought artisticsensibility into everyday public spaces, challenging the traditionaldistinctions between ceramic art and sculpture that persist to this day. In 1986, Bors贸dy founded his own family studio, where he hascontinued to explore ceramic forms with quiet intensity and an experi-mental spirit. His works simultaneously convey intimate tactility andmonumental presence, celebrating ceramics not merely as a technicalmaterial, but as a living substance.
According to art historian Bal谩zs Feledy, Bors贸dy鈥檚 art is char-acterizedby 鈥渃eramics pursued through a fine art and sculptural lens,鈥� confirminghis place among modernist sculptors who use abstraction as a meansof exploring nature. Hallmarks of his visual language include roundedshapes鈥攕pherical, sometimes disrupted, opened, or halved globe-likestructures鈥攐ften accompanied by repetitive motifs and a serial modeof thinking. Bors贸dy鈥檚 signature 鈥渟pheres,鈥� the most distinctiveelements of his ceramic art, echo the ideas of French philosopherGaston Bachelard, who, in The Poetics of Space, explores the pheno-menology of roundness and famously argues that 鈥渂eing is round.鈥� The exhibition The Poetics of Roundness not only highlights the keymotifs of Bors贸dy鈥檚 life鈥檚 work but also underscores its enduringrelevance. In parallel with the 鈥渘ew materialist鈥� tenden-cies incontemporary art and the renewed interest in ceramics, Bors贸dy鈥檚legacy offers a vital perspective鈥攐ne that seeks to unify form andfunction, tradition and experimentation, the built environment and theorganic world into a single grand modernist endeavor.
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