MLitt Fine Art Practice School of Fine Art

Bori Gheorghita

Bori (b. 1995, Hungary) finished her first master studies in sculpture-restoration at the Hungarian University of Fine Arts, now graduated from Glasgow School of Art in M.Litt Sculpture. In her practice, Bori draws inspiration from nature, science, and psychology. Her early works were mainly formal investigations in abstract and impossible forms while trying to maintain an experimental practice and try to work with a wide variety of different materials.

In her latest works she was interested in topics like mental health, self and body image, and conceptions of reality, while focusing on using only natural materials, like stone and plaster. Her sculptural works are connected through their main focus revolving around the ideas of the contemporary human condition, the self, body and identity, and change.

Contact
ghebori@gmail.com
N.Gheorghita1@student.gsa.ac.uk
Website
Instagram
Works
Body and absence / Unrealistic reality II
Placebo
Pile of Polyphemus

Dissolution / Ego death

The ego is part of our personality, it is a person’s conscious awareness of themselves. It is how we see ourselves and who we believe we are at any given moment. The fawn itself is a metaphor of the ego, weak and broken. It is the self itself trying to achieve psychological growth by accepting reality and letting go of previous believes, and letting the ego dissolve. (Plaster, textile)

Corals

In my practice for many of my work, I drew inspiration from nature. The materials and processes are all part of my methodology. I think of my work sometimes like a conversation between specific (but not too directly expressed) concepts, and the results of accidents or experiments. In this piece, my main inspiration was corals in their natural abstract forms, and our current problem with coral bleaching. (Red and white limestone)

Pressure

In this work symbolizes the deprivation of liberty. The piece is about finding something underneath the surface, that is only visible after it has broken. Exposing and revealing internal oppressive forces and capabilities, situations triggered by pressure. (Plaster, crystals)

BODY AND ABSENCE / UNREALISTIC REALITY I

The first version of a sculpture, using casts of disproportionate mannequin legs. Reflecting on the controversy of beauty standards and unrealistic expectations for women, that has created many unhealthy body images in today's society. In my work, the Body and absence / Unrealistic reality, I tried to reflect on these social issues and thoughts about body-positivity. (Plaster, marble dust, graphite)

Body and absence / Unrealistic reality II

When we look at these legs I feel like there is no sense of loss towards the absence of the body. These mannequin legs (or just mannequins in general) are usually completely disproportionate compared to reality. The controversy of beauty standards and unrealistic expectations for women has created many unhealthy body images. In my work, the Body and absence / Unrealistic reality I., I tried to reflect on these social issues about female body image, and thoughts about body positivity. This piece is an exploration of the body and its absence, and a monument for body hair.

Body and absence / Unrealistic reality II

Body and absence / Unrealistic reality II

Placebo

In this sculpture, I wanted to make realistic but fake pills, out of stones. Representing the heaviness of accepting and taking things without actually understanding them. Each pill being hand sculpted one by one is a reflection on the state of the mind and the way we could control the feeling in our body and mind. The “candy-like” appearance of these stone pills are indicating intimacy, harmlessness, and a model of minimalist order, hiding or banishing the fears of death and decay, the way medicine does, as it is promising that much but can only stave off the inevitable.

Placebo

Placebo

Placebo

Placebo

Pile of Polyphemus

The main inspiration for this sculpture was Homers’ Odyssey. The decapitated heads are copies of an antique original stone sculpture (Head of Polyphemus, made around 150 B.C.). Using a mostly minimalist color scheme, with one or two brighter colors, we could see this beheading violence (that is also a reflection on the blinding of the character) in a playful but forceful way, indicating the change. In Odyssey, Polyphemus loses his head and that causes his death. This indicated for me an important lesson about self-control (specifically in the context of change). This sculptural piece is about the understanding of how much more difficult it could get when we try to manage change without sufficient self-control and understanding. And how important is to try to stay calm under pressure and keeping focused, and accepting the fact that most of life is out of our control.

Polyphemus

Pile of Polyphemus