ART
ART
take a look at my art
VOX VICTIMAE
2025, photobook, 20x25cm published by Symposion (Budapest)
How does a living being become a victim? When did we become so detached from life that we built systems around it to decide who is worthy of living? What happens to those who are not worthy? What happens when we are not worthy? Who is it that selects, categorises, decides – and who empowered them?
Sacrifice was originally a sacred act; today we make sacrifices, we become victims on the altar of power, political ideologies and scientific progress instead of gods. Which body becomes a tool, a sacrifice, and which remains protected? What happens when we no longer defend life, but the system? Who is to say what is life and what is not? “Man is the cruellest animal.” – writes Nietzsche. But is it really the animal that is cruel or is it man who can build a system around cruelty?
WHENUA
2025, photobook [30x30cm]
This project is based on microscopic images of animal organs and tissues. The images were created with the support of the University of Veterinary Medicine Budapest. Once removed from their medical context, these sections transform into unfamiliar terrains. Within these visual fields, I search for landscapes, landforms, and natural phenomena.
NATURA MORTA
2024, digital photographs
How can we incorporate still lifes in contemporary photography?
Can we use them to address current problems?
Can they still be of lasting value in the 21st century?
In my work, I sought to answer these questions. As static compositions, still lifes reflect small yet deeply meaningful aspects of life through different symbolic systems. Through a conscious selection of components, still lifes can not only provide a visual experience but also stimulate intellectual interaction. The grotesque aesthetic creates narratives that can capture and provoke the viewer’s attention. In this way, they are able to reflect on collective memory and social reality.
SALTATOR
2024, short film [2:22], microscopic footatge
The aim is to expose how easily authority, scientific language, and AI-generated elements can mislead viewers. The project reflects on fake news, deepfake, and the declining habit of critical observation.
VERKÖRPERUNG
2024 – 2026, plaster casts, digital photographs
A project exploring the act of self-objectification.
FILE NOT FOUND
2025, plaster casts, vacuum casts, digital photographs
How can digital technology / the Digital Age reshape identity, presence and connection? How are these altered in an age, where our human features become data?
My work explores the tension between physical presence and digital fragmentation through a plaster-casted self-portrait, that has been repeatedly scanned, glitched, distorted and reworked – converting my own face into data, manipulating it, and returning it to material form. By turning my own features into data, then distorting and rematerializing them, I reflect on the instability of identity in the Digital Age, where what defines us can be both endlessly reproduced and irrevocably altered.
MOLD
2024, lumen prints exposed for several weeks
I made lumen prints of different plants, leaving them exposed to natural light for weeks. During this time, the plant material decomposed. This way the paper not only shows the image formed by the light, but also the effect of time.
The project deliberately avoids the act of fixation. The possibility of ephemerality and further change over time remains an integral part of the work.
ANALOGUE
experiments from the darkroom
My darkroom experiments mainly include photograms and chemigrams. I have been experimenting with environmentally friendly developers, using materials such as coffee, red wine, and herbal teas including rosemary, green tea, and peppermint. In addition, I also create luminograms and lumen prints.
PRINTS
Experiments with various printmaking techniques
I am currently completing my MA degree at UAL Art and Science, which I joined after finishing a BA in Photography. I entered the program with the intention of expanding my visual language beyond the photographic image, using experimentation as a way to discover new media, techniques, and working methods that could later be integrated into my previous practice. Rather than abandoning photography, my focus has been on allowing it to evolve through contact with other disciplines.
MAMA
2024, digital photographs, documentarism
This series was made in response to my grandmother’s diagnosis with several mental disorders. I began photographing shortly after receiving the diagnosis, during a period marked by uncertainty and emotional instability. What initially started as an attempt to document her condition became a prolonged process that unfolded over several months, allowing time for observation.
SURREALISM
2021, digital photographs // a paraphrase to DALÍ ATOMICUS by Philippe HALSMAN
This series presents black and white digital photographs inspired by the photograph titled Dalí Atomicus (1948) by photographer Philippe Halsman. The images reference suspended motion, flying objects, and the presence of water as a rupture of reality. Like Halsman’s iconic photograph, each image captures a moment frozen in mid chaos. A chair flies through the air. A cat jumps. Water hangs suspended in space. However, instead of a surrealist studio, the scenes unfold in ordinary Hungarian domestic spaces. These include some rural gardens, courtyards, and backyards.
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