As a member of the experimental textile artists, Ilona Lovas entered the field of visual art with her large-scale installations. In her works, she employed unique, organic materials and craft techniques traditionally associated with femininity, where the materials, forms, and processes carried strong symbolism. They represented the artist's faith and search for meaning in abstract forms. In 1984, she began her series Stáció (Stations), in which the successive, interconnected works symbolized various stages of the human life journey and the quest for divinity. Station No. 26 consists of seven spindle-shaped objects, which the artist also referred to as “soul seeds” or “babies.” She wrapped the wire frames with washed intestines and swaddled them as if they contained a child or a soul. She elevated the "lowly" material to an ethereal quality, cleansing it of impurities and revealing its vital structure. Symbolically, she inverted what lies within us—emotions, desires, instincts, and things that are otherwise inexpressible. She often composed her works specifically for the space, giving a sacred character to the architectural environment.
Krisztina Szipőcs