Andrea Hegedűs's solo exhibition Térhatások remains open until October 29 at the Goldberger Textile Collection of the Óbuda Museum. The associate professor at METU's Fashion and Textile Department created installations combining light, sound and glass textile with composer and sound designer Botond Őri-Kiss. The show is timely now because it has entered its final week, with a closing event scheduled for 5 pm on October 29.
Textile that no longer falls around a body
In her self-developed glass textile, Hegedűs places fabric between layers of laminated glass. The soft material loses its familiar movement, while weave, fibre direction and transparency remain visible. That tension matters to fashion. In clothing, textile answers the body and gravity; here glass fixes a fold, a pocket of air and the passage of light.
The site-specific works gain another meaning in the industrial history of the Goldberger collection. The museum preserves evidence of Hungarian textile printing and manufacturing, while Hegedűs does not repeat a production pattern. She changes the way material is perceived. The visitor looks at the surface and at the light travelling through it. Botond Őri-Kiss's sound textures give the encounter duration, because the work cannot be read from one viewpoint.
Glass textile becomes more than a technical feat when stiffness and softness remain visible at the same time.
What to watch in the room
At close range, examine the boundary of the lamination, the drawing made by trapped fibres and the edge of the glass. From farther away, ask how the installation divides the room and whether it changes as a visitor moves. The sound is not simply an illustration. It can accelerate or slow the reading of a surface.
Hegedűs received Hungary's Textile Artist of the Year recognition in 2025, but this exhibition should not be treated merely as the afterlife of an award. Its stronger claim is that textile design does not end with clothing or furnishing fabric. Material research, spatial thinking and sound can form one textile-based work.
In fashion, supports usually remain hidden: interfacing, boning or bonded layers hold a form. Hegedűs instead makes the supporting structure visible, and the glass itself becomes part of the image. For a designer, this is a reminder that construction need not be background work. When the junction between materials is precise enough, technology can become an aesthetic statement, provided it does not obscure the textile's own drawing.
The proximity of the historical collection also invites a comparison between hand-made pattern, industrial reproduction and a contemporary one-off installation.
At the closing event, a tour by the artist and a live musical session by Őri-Kiss will offer closer access to the technique. Registration is not required. For designers, the exhibition leaves a practical question: which property of a material do we accept as fixed, and what happens when that property is deliberately reversed?
