[ Student Works ]

Miklós POMSÁR
XX.-XXI.
Creative Photo Design I.
I'st Semester 2014-2015
consultant: Sándor Áron KÁROLY

The rapidly increasing cultural and demographic changes of the 20th century have created a rift between it and the 21st century, leaving multiple dramatically different generations coexisting in the same time period. As I was born on the year where Hungary was officially freed from the Soviet regime, we could say that I have never existed in the real 20th century - As long as we consider the nities as an extension of the new millennium, which would be viable due to the social and cultural
changes inherent in these times. As such, I must observe these connections as someone who is shaped and surrounded by the effects of a world that he hasn’t personally participated in. All ages feel as if the world is taking a pivotal turn during their time, even though gradual change can be inrefutably observed over a long period of time. The gaps between generations might actually appear due to the fact that the development of the individual does not necessarily corelate to that of development of the culture surrounding it. This concept is the focus of my work. The images show the social-realist statue clusters found by the Puskás Ferenc Stadium (built between 1953 and ‘58). The idealized, heroic forms of the statues point towards the 20th century, while the additions to them within the images change the scenes to reflect on the relationship between the two centuries as a counterpoint or, in some cases, as a consequence. Removing the topic from its environment displays general validity, while clearly including the subjective view as well.









Zsófia PUSZT
Ideal
Creative Photo Design I.
I'st Semester 2014-2015
consultant: Sándor Áron KÁROLY

The look shown to the outer world expects perfection, it’s a social expectation originating from the culture of ideals. We desire to be seen as perfect as we can never be, because they expect us so, but it is just an illusion. 

We can fight this ideal with honesty. Skin is one of our most sensitive senses, it shows everything. Everybody has their mistakes, the most perfect people has some flaws on their body, which they cannot get rid of, but are trying to hide it perfectly. We have to accept ourselves the way we are, we can not conceal all of our faults. We can deny them, but then we only deny ourselves. These scars, lesions live with us everyday. 

I capture the moments when we have to face these mistakes, when we are forced to see and accept them. I photograph in pictorial style in order to use aesthetics to embellish these faults, to make them look beautiful, not to be seen harsh. With photography I create fineness rather then hiding the faults. 








Sztrehalet Oxána
Men
Creative Photo Design I.
I'st Semester 2014-2015
consultant: Sándor Áron KÁROLY

Beauty is subjective. Although there were attempts to formulate mathematically the beauty, it can be said that the beauty means different for everybody. In this series I took photos about men, the way I see them beautiful. 
Many times I got in situations where my identity was questioned because I see the man and women beauty on the same way. The beauty that I see in women it’s watchable in the men also, many of them know about theirs feminine traits. 
The merger of women’s elegance and masculine forms is the absolute beauty for me. In my images I show my muses. They are my idols.  







Blanka NAGY
Shame
Creative Photo Design I.
I'st Semester 2014-2015
consultant: Sándor Áron KÁROLY

Intimacy, within our sexuality is a taboo theme. We are hardly to speak about these things, facts and problems in connection with sexuality. That is why we have misconceptions and doubts, because we do not get any feedback. So, we will become vulnerable against with the situations, but mostly against with ourselves. In my mind have some sign of social notion, which are in connection with sexuality. These feelings and thoughts are determinate. I usually like to live according to rules, because I need some benchmark. But, I tend to interpreted to handle these rules too serious. Furthermore I have some perceptions, which are amplified my uncertainty. I felt myself guilty and hurt, because I did not follow the rules. These pictures are remains of a passing vulnerability and shame.








Péter KIS
Hiatus
Creative Photo Design I.
I'st Semester 2014-2015
consultant: Sándor Áron KÁROLY

People has a need for support, for a partner who is understanding and accepting towards the other. In spite of that, this need, this desire can be overwritten if the given person is happy and has a fulfilling life. But I still think life cannot be complete without a partner. At least not for me. I am happy and can cope with my life, yet I sometimes think about how it would be if I weren’t alone. I have no relationship now, but I am sure only a self-defense mechanism, which is unconscious, keeps me from having it so. The decision is made consciously, but it’s reason is undecipherable. I channel my energy and time towards something I want to be good at and in this way I keep myself from being threatened (by my own fears) and vulnerable. Unfortunately, I cannot enjoy the feeling of being with someone. My aim is to discover what suffers a shortage in me, how do I feel I’m alone, yet I’m trying to fill this gap, but it can never be done completely. This way I’m trying to solve the problem in myself. My pictures feed from the past just as much as from the desire I have in me for a woman, who has no face in my head, but has a personality (but is not a person), who’s motions and features I can draw up. This desire and the hiatus, shown in the still lifes encompass my series.



Attila VINCZE
Confessio I.
Documentarism III., Laboratory Practice III.
I'st Semester 2014-2015
consultant: Edit BARTA, Sándor Áron KÁROLY

All of us make sins in our life; little ones, big ones, someone more or someone less. In my series I’m going back to my childhood; the beginning of a very young age to starting ages of adolescence. “Children Crimes” – we define these sins committed more than a decade. I’ve had plenty: milder or more severe, confessed or concealed. (Concealed was more.) These secrets and secrets with remorse associated accompanied this era. In today’s perspective it already seems somewhat less, maybe some of we can smile-feeding, but for me it was one of the greatest burdens need to carry. It strengthened before falling asleep due to the remorse of them, sometimes even in my dreams, came out in some way. There are also among the earliest memories, but most of them have been linked to the primary school ages.
I was a good student with “exemplary” behaviour. It was usual at home when I took home an excellent certificate at the end of the year. So my parents love me therefore. I was afraid that this “perfection” ended, their loves ended too. I counted at night in bed, how many warning i would have, if I confess everything, and I accept the consequences of my negative actions. But I lied or I reached that does not receive a penalty. I never brought home a warning. After one and a half decade I’m closing behind glass frames these objects that reminds the sins of my first life period.






Attila VINCZE
OCPD
Creative Photo Design I.
I'st Semester 2014-2015
consultant: Sándor Áron KÁROLY

In our modern society people live with the variety of psychological illnesses and mental problems. Some of them are likely to have existed before the middle of the 20th century, while others like “negative proceeds” related to the last century, decades evolved way of life. When creating images of my problems, I started with the particular segment of psychological disorders named OCPD. Behind my compulsions is aspiring to withdraw, searching for order, but this type of order just an unattainable idea for me. Never-ending organization, unpiped lists, half-ordered piles of paper, boxes, folders in unrealistic amount, with unrealistic time to systematization. Pshychology defines this attitude Obsessive Compsive Personality Disorder. The endurer knows his acts are eccessive and often superfluous, but he always do that. I examine these processes with photograpy in my series.








Krisztina GÖTZ
Archetypes
Creative Photo Design I.
I'st Semester 2014-2015
consultant: Sándor Áron KÁROLY

World of dreams is made up of two parts: there are individual subconscious, and collective subconscious, which feeds inherited samples, the latter is called archetype. In this series I deal with dream symbols. The main purpose was to decipher my dreams. Altough I present my dream elements, but in fact I just grab one part of the image, wich everyone can identify with easily. I view this motifs as poetry, in which poetic expression as a means of picture details appear.
Therefore the analysis of images can be various individually, but interpretation is possible only through the personal content.







Dávid BÍRÓ
Restricted
Documentarism III.
I'st Semester 2014-2015
consultant: Edit BARTA

In my series I deal with one feature of my personality. From several feedbacks and personal experiences I consider myself an introvert person. My aim is to capture this type of segregation and shyness with the help of photography.
In my images, I create different metaphors for separation. My built shelters are often more than just the creation of security zones. Sometimes they appear as a trap for myself, because I often see this self-defence mechanism as a barrier. It obstructs
forming and sustaining personal connections, which makes me feel more estranged from the world.



Dávid BÍRÓ
Indistinct
Creative Photo Design I.
I'st Semester 2014-2015
consultant: Sándor Áron KÁROLY

Colours are essential in one’s life. They play an important role both in nature and in the designing of objects. A type of colour code can be found in most mane-made objects, which makes it more customer friendly and easier to use. Signs and warnings are almost unimaginable nowadays without colours (e.g. road signs, danger warnings, etc.), which supposedly can be traced back to the evolution of colour codes in nature. Black-and-white photographic material can’t perceive these signs, and thus can be compared to colour-blindness (dyschromatopsia), when the patient can only take in reality in grey scale. Even when seeing in full colour, our perception of the world can vary from person to person - semi- or full colour-blindness however provides a drastically different reality for the perceiver.

This is why in my series (based on a colour sight test) I would like to focus on objects to which colour is essential, objects that, without colour, would partially or fully lose their function. Capturing these items, I would like to place them into a different context - lift them out of their original function and display them in a new light.






Máté DOBOKAY 
Spots, 2014 instant chemogram, 7,3x9,5cm/9,5x7,3cm
Creative Photo Design I.

Photography played a major role in distancing landscape imagery - used in paintings and graphic design - from realistic representation. In my works I deprived the photographical landscape from this same traditional attitude.
   In my series I destroyed the concept which states that one can only take a photo of something that exists in reality. Thus, I created landscapes which only evolved because of utilizing the possibilities hidden in the raw material itself. My photos are a synthesis of non-existing landscapes, the conventions of fine art and photographical landscape representation, furthermore, certain forms and elements of nature, which collectively exists in the minds of man.
   The photographs were created without time exposure but by using a chemical technique on the instant films and occasionally interrupting this procedure. Through manual intervention, I examined the possibilities hidden in the material and observed the attributes of the fictitious landscapes. With simple mechanisms, I directed the development, and formed the chemograms. During the chemical treatment the polaroids received balanced, equal amount of light, therefore, the photographs did not emerge merely due to the creating nature of light but more because of the interaction between the raw material and the artist. Reducing photography to such extent allows one to truly emphasize the creating process and the retroaction of the material itself. Due to the technical interpretation of the photos the presence of the creator is dominant even though the final photos mirror intact nature.










DOBOKAY Máté
Hommage a Simon Hantai, 2013
Photo Laboratory Practice I.






DOBOKAY Máté
White Cubes, 2013
Documentary Photography I.

I’m creating this series in connection with Marc Augé’s anthropological term non-places of empty galleries and exhibition areas between two exhibitions. (I use present because it is a continuous project. I photographed places in Budapest, but later I’d like to expand to international venues.) I’m interested in the temporary dysfunction and inverting the connection between the hall and the artwork.
   Structuring and it’s disintegration: It determines the technical approach, workflow and the appearance of the image. A place like this cannot distract the viewer’s attention from the artworks shown and what is more, it always have to be minor compared to them. By photographing the places in a given dysfunctional state, it can stand for itself.
   I’m deeply interested in filling vacant places with „spirit”, when do we feel empty places filled, what could photography, the photographer and the viewer add to it. I’m attracted to minimalism and monochrome photography and how i could mix and break them up. I started on these directions, but for the sake of this series I have to break these systems somewhat. The guidelines, the parallels, the scales are given a prominent role, but in order to give the space a personality, some minimal displacement should appear in the pictures. Clarity still dominates the space, but I’d like to create a little more personal photographs. The momentum that amplifies the structural disintegration and the dysfunctionality is the sign of reconstruction: screens, ladders, paintbuckets etc. These distract the square white places and shows how far they are from their original function, despite indicating that they are on the way back there. These tools are obliged to prepare a new, spotless area for the next exhibition.
   Temporary loss of function: An important part of the series is that the dysfunctionality is only temporary, which is shown by the reconstruction and the tools left in the areas. Yet it makes the pictures timeless, because this state keeps coming back in all galleries and museums. Before and after all exhibitions the hall is changed somehow, loses it’s function for a while, receivers see it as non-places despite the fact that there is work going on even then. The most important finishing touches are made before the public could take a look at the exhibition. This is the duality of space when the current function is formed, it is shaped for the next exhibition, yet it has nothing to do with the viewer. Basically, I work in spaces that has easily identifiable, significant role in the mediation of art, but I visit them when no other visitors could. When there’s nothing interesting there. It attracts me what these halls can give, even if they are created to show artworks and have to be neutral to let the viewers concentrate on the works exhibited. I wonder if the artifacts were removed from the formula can they be individual, unique, do they have something special despite they ignore all fanciness? Can this simple space live up to be an artifact among those it was made to display?
   I think it is important to mention an installation which connects the gallery’s dysfunctionality, yet it’s filling and strongly shows the link between the exhibition area and the artifacts: Karin Sander’s exhibition „Umgelegt” was shown in Berlin, at the Esther Schippper Gallery in 2012. Sander laid two – formerly built by Schipper – walls down the floor to break the distance between the gallery and the artworks, in which situation the white walls would only give a background, would only function as an empty, neutral room for showing the artifacts. Schipper’s freed walls inevitably become artifacts for the visitors. The connection between exhibition place and artifact: I would like to point out the galleries from their underlying role. I want to show the space itself. Like Carl Andre minimalist sculptor did, I’d like to use space as an evolutionary peak of shape. He said it is a development process: The sculpture as form/ The sculpture as structure/ The sculpture as space. From this it is considered that the gallery, when displayed as a work of art becomes the peak of evolution in sculpture. (The question is if it can be converted into two dimensions.)
   As Thomas Struth pointed out exhibition viewers, I’m concentrating on those spaces which allows art to be displayed. I do not put pictures into galleries, but I capture it’s white walls on photographs. This is how I enhance these walls and draw them out of their original, underlying role. An important preview is monochrome painting, which appears strongly in my work on the different white walls.











KOKAVECZ Boglárka
Vulgáris, 2013
Experimental Photography








NEOGRÁDY-KISS Barnabás
Vulgáris, 2013
Experimental Photography








RIGAOVÁ Eszter
Vulgáris, 2013
Experimental Photography








SPITZNER Dorottya
Vulgáris, 2013
Experimental Photography







BARANEK Ádám András
First Chapter, 2013
Creative Photo Design II.







CZINDER Fanni
Mirror echo, 2013
Creative Photo Design II.








REGŐS Benedek
Simulacrum, 2013
Creative Photo Design II.






SZABÓ László András
Meta, 2013
Creative Photo Design II.





SZÁNTÓI Lilla
Barely Past, 2013
Creative Photo Design II.

I have always had this feeling about something that has just begun to exist and has ended all at once. The strange relation I have with time has again showed itself. People change continuously, therefore relationships can also turn for the better or worse. Sometimes we get close to someone who has lived near us for a longer time but we did not mean too much for each other. My relationship with my sister looks exactly like that, so it became the most determinative experience in my near past.
   During the recollection of my childhood pictures, there has been moments to recall, which I can clearly feel the same way as I felt in the past. My childhood was manifested in these things, the scents of grandma’s kitchen and the sound of the cabinet’s door always jarring when someone tried to catch the marmalade secretly. Me and my sister experienced the same, but on different ways, not together. Our occasional relation was reduced to hide the tracks after wrestling, the broken vase, the spilt tea followed by a common penitance. Our childhood means for me two single-person stories, in which we were only secondary characters for each other, but later we became primary figures for each other. By now our relationship turned into a real alliance, an undefined, unsaid, invisible collaboration.
   The six years of ages between us has always had a kind of determinative aspect, which caused other interests for a long time. It is the first time now, that I can feel this age difference not too much anymore. The age she is now living, is not that far from me and it has also been a really important period in my life. Sometimes when I look at her, I see myself with similar feelings, similar problems. That’s why I can feel her closer, and look back to my then self to help her get through the difficulty of adolescent. Unexpectedly I had to recognize how important my role is in her recently emerging womanhood and in the facilitation of her troubled adolescence. On the threshold of the new age, looking into the obscurity can be a frightening but exciting period. The transition is like stepping back and forth, still holding on to the past and at the same time be open to unknown ways.
   During my work I was interested in this duality, the double age in one person. In the process of taking the photographs, I have tried to stage extreme situations around her to see how she reacts and feels herself in them. Recalling my memories of our childhood, I tried to move with her through this fluid bound, looking for the woman in the girl and for the child in the adult.








ZELLEI Boglárka Éva 
Légtér, 2013
Creative Photo Design II.









SCHUMANN Bianka
Nem én kiáltok, 2013
Creative Photo Design II.