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About the work

This photograph is a one-off print of 2 editions. The photograph display a photo of found negatives dating back to 1991. The footage was found in Sri Lanka during Lockdown 2020 and printed onto concrete. 

"The Lovers" is a Stone Carving in Isurumuniya.⁠

The Isurumuniya Viharaya is situated close to Tisa Wewa in Anuradapuraya, Sri Lanka. There is a Viharaya connected to a cave and above is a cliff. A small stupa is built on it. Isurumuniya is famous for its stone carvings, and the one known as “Isurumuniya Lovers” is the most-admired and world famous.⁠

The Isurumuniya Viharaya was constructed during the regime of Devanampiya Tissa who governed the ancient capital Anuradhapura. The temple was built as a monastic complex to house newly orientated monks. Connected to the Temple is a cave with a cliff above it.⁠

Some believe Isurumuni lovers are a symbol of Hindu god Shiva and Parvati. But according to Dr Paranawithana it is believed that it’s a depiction of Prince Saliya, son of king Dutugemunu and Asokamala, a poor lass whom the prince favored over the throne.⁠


PublisherKrisztina Czika
FramedNot included

About the artist

Hungarian-born Amsterdam-based artist, Krisztina Czika, has always felt herself irresistibly drawn to the material world, to what you might call the stuff of life. Even as a student in Budapest and later in the Netherlands, she zoomed in instinctively, fascinated by how everything was put together. In her work she began to experiment with many different kinds of physical materials, focused not solely on their palpable characteristics, but equally on the stories and emotions they carried within them; concerned with both the physical and the metaphysical.

This material fascination has consistently inspired wholly idiosyncratic research and has influenced both the focus and the form of Krisztina’s subsequent art and conceptual design work. 

Krisztina is inspired by everyday objects — once again, the stuff of life. These objects may take the form of seemingly mundane pieces of technology, seemingly useless waste products or even just the materials from which either of these things are made. Each project begins with the identification and exploration of a particular object, substance or material. Often, because of the very commonplace nature of its role in our lives, this tends to be something that is generally overlooked, or even looked down upon. An IKEA mug, for example. A fallen head-hair, plucked from a sleeve. A bundle of old negatives in a pile of street-trash.

Krisztina’s aesthetic investigation begins at an elementary level, with a profound exploration of the very smallest particles of the chosen materials and an examination of how they develop and evolve, both with and without human intervention. 

Underpinning much of Krisztina’s work is an interest in the transformation of the everyday into new and diverse forms; the journey from the building blocks of our daily life — familiar and functional — into something abstract and thought-provoking, leading to a fascinating and often highly rewarding reevaluation of the world around us. 

Appreciation of the multifarious aspects of any given material is a necessary stepping stone in the creation of new uses, new applications and endless artistic possibilities. So having researched and reviewed these materials in what you might call their natural state, the artist intervenes, taking the materials to the next level, endowing them with new forms that still somehow reflect or reference their previous life. 

In this way, Krisztina’s work overturns our long-entrenched notions of the material world, rescuing what we often perceive as meaningless, or worse, and reevaluating, reimagining, repositioning, reinventing, redefining. 

For Krisztina Czika, physical material is never simply a matter of matter, pure and simple. Rather it has dramatic social, environmental and even political ramifications, with much to say about the way we live our lives. 

Profound and playful in equal measure, Krisztina Czika’s work revels in the infinite potential of the material world. 

Other work of Krisztina Czika

Refraction | Photo 1
Photography, 36x24 cm (w/h)
Refraction | Photo 1
Photography, 36x24 cm (w/h)
Between Lockdowns | Photo 4
Photography, 90x120 cm (w/h)
"Visiting Mermaids" | Photo 2
Photography, 36x24 cm (w/h)
Visiting Mermaids | Photo 2
Photography, 24x36 cm (w/h)
Refraction | Photo 1
Photography, 36x24 cm (w/h)
Between Lockdowns | Photo 2
Photography, 180x120x5 cm (w/h/d)
Between Lockdowns | Photo 1
Photography, 60x120 cm (w/h)