XXXV. Nemzetközi Művésztelep – Győr, 2003. június 23-július 14.

Résztvevő művészek: Eifert János fotóművész (Győr), Váli Dezső festőművész (Budapest), El Kazovszkij festőművész (Budapest), Ivan Csudai festőművész (Szlovákia), Helga Cmelka grafikusművész (Ausztria), Lenka Vilhelmova grafikusművész, installációs művész (Csehország), Pavel Makov grafikusművész (Ukrajna), Jèrôme Peyrat illusztrátor (Franciaország), Susan Leask installációművész (Anglia), Gabriella Fekete szobrászművész (Németország)

Through the processes of layering, weaving, spinning and painting, Helga Cmelka explores ideas that relate to the composition and structure of human existence, arbitrarily exposing an inner world. (As the Hungarian poet Weöres wrote: “When a woman dissects an orange and readily offers you a few segments, she almost exposes her inner self, presents you with that which is due to you, from her own personal emotional world”) In a reflective and individual way artists expose, identify and perceive fine layers of reality. In placing each layer on, or over another, weaving together, Cmelka implies cohesion defined by intense colour.

Helga Cmelka 1952 born in Mšdling / Lower Austria; Member of Wiener KŸnstlerhaus;
Invitations to international meetings in Finland, Germany, Austria, Hungary, Italy and others;
Invitations to Biennials and Triennials of Graphic Art: Maastricht / Netherlands; Varna / Bulgaria; Kairo / Egypt; British International Miniatur Print Exhibition; Biennal of Miniarute Arts, Gornji Milanovac; Internationale BuchKunstBiennale, Horn / Austria; Gyšr / Hungary; and others, Artist in Residence: Atelier Paliano / Italy, Solo- and group shows since 1983

The Fabric (textile) – with its very different properties, gauges and structures plays an important role in my work. The attributes of the material are a determining factor in the work process; the mechanical product is combined with personal handcraft.
It is a long process of addition and subtraction and sometimes even deconstruction (destruction)
Fibres are drawn, fine threads, vertical and horizontal, then, once again compact sewn forms – cutting out, pulling out, loosening, bundling, reinforcing, accentuating.
It is a form of drawing – the thread is the line and the needle is the pencil, the needle writes in the gossamer.

According to one philosopher we are all composed of structures at different levels. However we decide to view this theory, Helga Cmelka’s artistic programme
attempts to translate it into realisation. She layers our structures, one on top of the other, articulating anew. When a woman portrays herself in this way – weaving, spinning and painting, she arbitrarily exposes her inner world. (As the Hungarian poet Wešres wrote: “When a woman dissects an orange and readily offers you a few segments, she almost exposes her inner self, presents you with that which is due to you, from her own personal emotional world”) Artists follow their own motivations and thereby expose (identify ) the world’s fine layers, place them on top of each other, weave them together, make them cohesive and give them colour.
“The thread is the line and the needle is the pencil” – says Cmelka.
Set against the run of the thread, she adds further textile structure to the canvas. With the application of classical sewing techniques such as thread pulling, twisting, knotting, stitching, independent compositions come into being: Concave arches, sickles, irregular zigzag lines – somehow metaphoric: eyes, shells, wounds, vulvas, worms, snakes – “gibes”, which remind of Klee. The preparation work on the structure-giving textile proved to be boring, irksome spadework, which contrasted with the colour explosion that followed. In the Paliano studio, the Italophile artist found her way back to “her” colours: “The heart is red, blood is red, heat is red”. In spite of the dominance of red variations, she selects from the complete spectrum, unerringly creating harmony and establishing pointed, complimentary accents.

……”It is not illustration, much more an investigation, feelings and atmosphere find the appropriate colours. I look deeper into thoughts, search after the story, take up the dialogue, ( I ) Write the poems and write over them.
The writing devours itself in endless garlands and becomes unreadable”……..