“I didn’t take any exhibits with me on the train, but I was thinking hard during the journey and then in the car about how to solve the situation, namely that I would mount an exhibition without carrying anything on my back or renting an expensive truck to have a huge stone statue delivered to the location. In other words, I tried to exercise my flexibility, freshness and responsiveness.

When I arrived in Balatonboglár I decided to ask Galántai if he found it problematic if I did some damage in his object, i.e. the chapel. He said it depended on the extent and the nature of the damage I had in mind. So I told him that my work would be part of his chapel. It would be one single white work by me and it would blend into the white chapel wall. At that time I already had some white plaster works. I asked him for a chisel and I carved a palm-sized section with a shape resembling a brick out of the plastering of the chapel wall.

I wanted to work with a plastered surface not a clear stone surface, which would have been done if I had just wanted to install an electric switch or a socket but not engraved a groove for the cable. When I reached the brick layer, I cleaned the surface, which resulted in a small, contrasting and brick-red section in the white wall. Then I mixed some gypsum in a cut-up rubber ball, about the same amount that I had previously removed, and I plastered the section with the fresh gypsum. Due to the physical quality of the substance, even white gypsum has a darkish tone when it is freshly applied because of the moisture in it but it whitens out after the 2 to 3 days of drying.

I told Galántai that there was a slightly moist and darkish spot, similar to what you see when the plastering faults in a wall are corrected. When you use gypsum and not cement sand plaster – the latter is darker because of the sand in it – an interesting process takes place. In just a few days the plaster becomes as white as the surface around it and virtually ‘disappears’. Since then the chapel has been converted and my work is obviously gone but if the chapel had remained Galántai’s possession, my work had stayed in the wall even for centuries functioning as an optically invisible but physically present insert.”
(Interview with György Jovánovics, 1998)