In modern art history, the collage technique appears as a tool of expression in early 1900s, when Cubists and other artists began to use it in their works. In this regard, Lajos Kassak said in an interview: "I was so enthusiastic about collages, being by nature as a constructive person as I am, that I could not refrain myself from looking for a wide variety of materials to create new works." If the method of cutting with scissors seems easier than using the brush, the artistic value of bonding requires from its author as much work as a good oil painting, or a watercolor, or a pastel. Over the years - besides painting and drawing - the technique of collage became an independent gender in itself, giving rise to a multitude of trends. Just think of Kurt Schwitters or Tristan Tzara, of the Dadaist movement, or of the surrealists Max Ernst and Endre Bálint, of Marcelle Cahn, or of the constructivist Lajos Kassak, or even of the constructivist-surrealist collages of Lajos Vajda. Following this line of thought, in the works of great artists such as Matisse, Picasso, Miro and others, bonding plays an important role, although in many people’s opinion, and that of some collectors, it occupies a secondary place. Maybe this is the reason why artists rarely agree to display an exhibition where nothing but collages is shown. Judith Klein, who recently returned to Hungary repatriated from Brazil, accepted this challenge. This year, in the frame of the 13th Budapest Summer Festival, she will have her first solo exhibition in Hungary, at the KARE Gallery, where she presents a series of works in which collages predominate, with a touch of pastel, in the works “Jerusalem”, “Salvador” and “Favela”, and also in “Roots” and “Bubbles”. These works go beyond the traditional painting techniques, which Judith Klein, a “real” artist, also masters. The urban structures represented in these works show, firstly, the artist's architectural knowledge, and secondly – the most important part of the exhibition - they constitute a guide to the understanding of how they evolved into geometric shapes, based on the two major categories of collages. The compositions built from angular elements inevitably remind us of Paul Klee, when he says: “Once I saw a magical world of colors in a carpet shape picture, where the most striking contradictions were harmoniously blended”. While in Klee’s work the squares compose architectural structures, in that of Judith Klein the opposite happens: the constructions dissolve into microscopic particles, and then neatly re-join in rhythmic compositions. Judith Klein also likes the opposites, both in her images and in their conception. However, what one sees at work - cold or warm colors, vibration or dullness of lights, concave or convex surfaces, different thicknesses of the components - is not the strong contrast between them, but rather a gradual transition from one extreme to the other, as a negation of elusive truths. Just as the technique of collage and unlimited freedom coexist in harmony, Judith Klein’s work is special, because it creates an atmosphere of fairy tales in her paintings, a reality beyond the visible. The “Bubbles” series, with many vibrant colors and great lightness, is far from suggesting that the work of art that we see before us has been produced by someone who was born in concentration camp, and that at the age of ten, had already lived in four countries of three different continents. Judith Klein finally chose to live in Brazil, where she studied Fine Arts, Architecture and Sociology. As a painter, she participated regularly in solo and group exhibitions since 1980, both in Brazil and abroad, in cities such as Buenos Aires, Paris and New York, and gained recognition at the recent Salon International de Cannes-Azur, with the Great Gold Medal. With this solo exhibition in Budapest, Judith Klein returns to the country of origin of her parents, starting a new stage in her career, which could be the prelude to a broader understanding of the meaning of the word "home."
Cserba Júlia – art critic wrote it in Hungarian in 2010 www.artportal.hu