…the sigh was barely audible,
like the gentle whizz of silk.

Jorge Luis Borges


The dialogue in its most simple and usual form is an act of information of a human pair. Margit Tóth and Mihály Melcher – are a married couple and in their case one has to consider beyond the usual forms of dialogue special versions of the conversation of two creative artists. What is more, both qualified with a degree from the same year as silicate majors at the College of Applied Arts, having chosen glass as their course of artistic expression, drawing and painting have remained their option in both designing and expressing the self. It would be hard to imagine that they did not determine each other even more so that their common thinking, common technical implementation, use of material and technology would not give rise to mutual impacts or just as the case may be the necessary degree of deconstruction (with „n” in its Derridan meaning)– precisely as an indication of special coincidences.

         As it goes, namely, we have to do still with two separate and two convincingly and tangibly individual artistic constructs and, if I want to make it extremely simple, an expressive-surrealistic imagery (Margit Tóth) and a constructive-rational analyst (Mihály Melchner). At the same time, however, one has to immediately allow that they are merely theoretic categories as neither of them is such a crystal clear correspondence to their own one.

         Let me quote an emblematic example. Margit Tóth produces animals from glass (put intentionally clumsy) that are not in existence i.e. they still come about in their glass entity. They could even exist in some kind of a wilderness but evolution has singled out some other directions. I would gladly call them visual anagrams. Green pigs are non-existent in nature but much more so in Mihály Melchner’s zoology. The glass fauna is probably their shared idea, however the green pig comes through in its glass form mentioned already more like a robust jewel, more like the product of a more square creator, while Margit Tóth’s sweeter creatures that tend to flee from what appears to be some private mythology are more likely to be paraphrases of let us call them love-shapes. (I have clearly coined this latter phrase for Margit Tóth to indicate her artistic attitude to her own world). The „world generation” of both of them is allowed to rely on a well equipped studio and high level artistic skills corroborated in this case by the absence (!) of any haphazard hand mark.  As I have said the deviation is still typical, what is more, even in their image projection. Both develop situations and history fragments, mythical cross modulations on their sturdy figures. In turn these evolve into refined dialogues, intricate messages whether with or without intention into which they coax the onlooker by easy going elegance. And it is indeed easy to get coaxed as one soon senses the enigmatism clad in the directness of the artwork and gets grasped by the hunch of mystery.

         What is sure at the first sight is that the mystery is not a surprise packet; the warrant is the fair beauty of presentation, the unveiled originality and playful seriousness of the mysterious idea.

László Fábián