Kíra Dorottya Krász was born in Hungary, 1995. She moved to the UK to study and graduated in 2019 from the University of Brighton BA Photography. She received the Photoworks award for her degree project ‘Thought after Taught’ and was as Runner-Up at Freerange Shows in London. In 2020 Kíra was selected to exhibit at Hangar Art Center in Brussels with her project ‘Squaring each other to fit, as the space will be tiny, the days will be long’. She currently lives and works in Pécs, Hungary.
Exploring her process and recent work, Squaring each other to fit, as the space will be tiny, the days will be long, Kíra writes:
“George and I spent the confinement (2020) in a small mezzanine room in Hove, UK. For us, one room alone became the living room, the dining room, the studio and the bedroom. What we had the most troubles with, was ourselves: there were just too many limbs for a tiny room. I had been introduced to the game of Tetris at the start of confinement. The videogame, which was designed by Alexey Pajitnov (1984) and which served as the base for various scientific research due to its tendency to thicken the cortex, and to develop problem-solving skills.
Playing an occasional round on the tile-matching videogame, was our way to accept that we might not have any answers to COVID 19, but we can change the elements around, we can catch them from the right end and jiggle them into their fitting places. It was our competition, an outside challenge that the mind needed in a life, which has temporarily been transformed to take place inside the game and our headspace. It was a nice parallel to see that as we improved in the game, we harmonised our interactions and attitude to each other. By adjusting shapes the process was an opportunity to depict balance, completion, the harmony of action or our struggle for equilibrium.
My work is focused on the interplay between images and their physical properties. I am curious to explore the possibilities of photography by experimenting with, printing techniques, layering, textures, and installation. I enjoy interacting with the work I am making, cropping and cutting printed images, then putting them in a different context. My aesthetic goal is to reach a state of ‘timelessness’ when it comes to image-making whether it be by choosing aged papers, working with traditional techniques in the darkroom or using the ink and the printer with incompatible materials. I find it easier to describe emotions and ideas when a camera is present, so that is my primary instrument in a process. Portraiture, abstraction, landscapes and nudes have equal importance within my practice to elements such as books, or odd paper. I attempt to determine the genre of a photograph by its context rather than its content.”
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