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Eleonóra Pasqualetti

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20th Century Cloister - 175 x 50 cm/column
The basic idea of my works is represented by the strictly restricted spaces
of the medieval cloisters which I paired with various methods of expression. While tapestry weaving required thoroughness, perseverance and discipline, other techniques opened up new ways of spontaneity, imagination and playfulness for me.

The architectonic purity, intellectual serenity and spiritual tranquillity of the woven cloister columns inspired by my study trips to Rome (20th Century Cloister) urged me to summarise present and past. Instead of the essence of mysticism, my cloister became the essence of the threatening world, its sacrality becomes hopeless emptiness. I attempted to formulate these dualities in my cloister.
„When they are exhibited, an iron column is placed next to them to help the earlier clearly separable notions of real and imitation to wash together.”

( quotation from András Edit )
The exhibition organised in the Budapest Gallery titled „Two Memories” (with Barbara Salvucci, 2010) also carries the marks of Central European existence, remembering-forgetting and destruction. The tub placed in the centre of the exhibition space is made to the model of a table for washing dead bodies in a Central Italian cistercian monastery. (Lavatrinum).
The weighty, rusting object was meant to be the embodiment of transience related to the material world and of bodiless recollection, and to enlarge the vision of the soulless world to be universal.

The large pastel drawings that are organic parts of the installation – elaborate on the separation of body and soul. The thousands of pastel lines become a loosely woven layer of fabric, a high-rising intellectual and metaphorical textile.

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Horizontal-Vertical, 2010, pastel drawing, 160 x 150 cm
On my work titled Horizontal – Vertical there are two tin boxes that are presented as conventional parts of life. The work attempts to reveal the problems of the real world squeezed between barriers and the disproportion between the speed of the mind and the incidental nature of material. Fate, memories, war… („it’s always the mothers who give birth to orphanage over again”)* The transparent box conveys the absolute contemplation beyond life.
( * = Tóth Krisztina )
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Gargoyle, 2010, pastel drawing, 160 x 150 cm
The fast flowing water is pouring as a straight jet from an enraged celestial body, the gargoyle, resembling the eternal separation of the victor from the vanquished, pure from the impure with the mercilessness of heavenly several smaller streams, into countless arms of gloriousness and ingloriousness.

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Crossing, 2010, pastel drawing, 135 x 148 cm
The drawing titled Crossing condenses the stages of a non-worldly transformation presented in floating unreality. From the tissue of thin lines a certain sacred space is formed that is intended to ensure crossing between heavenly provinces. It somehow gets integrated into the cosmos through an opening in order to find its place in the transcendental. The symbolic,
festive light of the other shore’s silence is associated with the celestial chandelier.

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Repetition of Time, 2010, pastel drawing, 160 x 150 cm
Repetition of Time attempts to depict the cold strangeness of eternity that is over linear time, thus incomprehensible for human intellect. Unstructured eternal existence deprived of its religious content means only eternal loneliness of the soul, this is how the idea of sacred linearity becomes profane unending circle, endless repetition of time. The cyclic time perception is of religious nature in the Eastern cultures, it’s part of the sacred, sanctified time,
but for the Western man, who unconsciously embraces the time linearity of Christian culture, this concept of time is distant and impossible to comprehend. We cannot get rid of or own culture.

Budapest Galeria 2010
Enteriőr 1. Budapest Galeria 2010
Budapest Galeria 2010
Enteriőr 2. Budapest Galeria 2010
Budapest Galeria 2010
Enteriőr 3. Budapest Galeria 2010

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