Diploma meló

"EURÓPA ELRABLÁSA“
Szubjektív útinapló

Ez a diplomamunka egy útikönyv, illetve egy rajzfüzet, amit európai utazásaim inspiráltak. Az ókori „Európé elrablásához“ közelít felfogásában. Ott Zeusz rabolta el bika képében, ami tetszett neki,- a NŐT. Én itt azt rabolom el Európából, ami nekem volt impresszív belőle. Gondolhatnánk arra is, hogy magyar lévén, „végigfosztogatom“ Európát, mint egykor a hunok, persze csak vizuálisan… Másfelől elrabolhat Európa is engem (főleg a nyugati fele) -busás fizetéseivel, mint fiatal munkaerőt. Bár én inkább maradnék itthon. Avagy csábít forró mediterrán színeivel és hűs türkizkék vízével, akár egy déli szépség. Esetleg kikapcsol a stresszes életformából északi friss, tisztalevegőjű erdeivel, mint egy romlatlan lány. Nem vagyok egy új Benyovszky Móricz, Széchényi Zsigmond vagy János vitéz. Magamhoz mérten azonban volt néhány izgalmas kalandom, ahogy az mindenkivel megesik utazáskor. Koncepcióm szerint minden oldalon meg kell jelennie a női princípiumnak, -akár egyértelműen „telibe“, de mégjobb, ha sikerül átvitt értelembe megtalálni. „Cherchez la Femme “, azaz mindenben a nőt keresd. Pontosabban nálam Európét/Európát. - Hol könnyedebb előadásban, valami képében (gumibaba, női bicikli, sörcsapolónő, szirén, saját magam női alteregója). - De van amikor az élet nehezebb pillanataiban megtalálva (haldokló idős hölgy, kiscsikóját elvesztő büszke kanca). - Néha pedig csak maga a természet, a táj, egyszerű szépségével. A kontinens, ami lakóinak otthont és biztonságot ad.

THE SEDUCTION OF EUROPE

The following thesis is intended to serve as a travelogue; or rather, sketches inspired by my own exhaustive forays into Europe. Conceptually, this guide alludes to ”the seduction of Europe”. In the renowned ancient Greek myth, Zeus – disguised as a bull – ravaged that which he desired most, namely, a woman.

As for my own inclinations towards plunder, I – like my Hun predecessors before me – decided to abduct (metaphorically speaking, of course) that which impressed me most during my journeys. Thus, with sharpened pencil, I take in all which is not rightfully mine.

This is not to say that Europe isn`t equally – if not, exponantially – capable of exploiting me. Rewarding youthful vigour with a mere pittance is unfortunately quite commonplace in today`s global economy. Despite such sobering considerations, however, certain attractions continue to beckon.

Who can resist siren-like call of the Mediterranean with it`s balmy nights and cool turquoise seas, or its wavy haired nymphs in short dresses? As for finding ways to sooth the Central European`s stressful lifestyle, litle compares to the crisp clear Nordic sky with its endless bounty of rivers, lakes, and buxom blonds.

Being neither Marco Polo, nor Don Quixote, nor even a befuddled folklorist, my own travels are admittedly beset with more parochial limitations. Still, like most who venture beyond their own borders, I do have my moments. It could even be said, I have – what is generally referred to as – a calling.

Whether represented in a straight-forward ànatomical` manner or by more metaphorical means, the `female`that is ever-present in Europe persist to exert its hold over me. `Cherchez la femme`is easy my mantra of choice. Of course, the emphasis can be placed on the `chechez`– the search – as easily as it can on the `femme`. Likewise, in this sketches, the female form is often hidden in everyday objects: a blow-up doll, a woman`s bicycle, a siren, my own persona as a vessel for an unseen woman`s ego. But whether it`s draft or beer recently drawn by the fading hands of waitress, or the imprints of a dying elderly lady, the feminine ideal pervades my vision of Europe. It is in the landscape, in the motherland, in the chastity of a clean lake or the often crossed borders of a newly born country.

The intention of this work was to present the distinct personality of an entire city in objects that could otherwise easily be passed over as merely negligible minutiae. In this way, it often happened that throw-away shots took on the scale of massive symbols, while trinkets took on the emblematic proportions of entire traditions. Relying upon images that used the least amount of manipulation possible, I attempted to reflect how even the most elaboratley recalled cities are built by highly idiosyncratic if raw visions. Applying the method by which we hastily absorb new environments, every work in this series is the result of speedily rendered impressions. In this vein, felt tipped pen – rather tan paint brush – become the tool of choice.

Immediacy, I feel, is important for relating that `place called Europe`. After all, Europe does not exist beyond the highly subjective realm formed within the boundaries of our own ever-altering and whimsical perceptions. Travelling through a landscape where imagination, recollection, and longing form the Europe we see, we come to realize that each journey is no more than òurselves seducting Europe as Europe seduces our perception`. (Free translation by Rory Winston)