OD Photo Prize 2021 | Judge’s Pick
“I’ve never seen illustrated so beautifully that there is something so unquantifiable about the human experience. Reminded that no matter how much we want to measure and control what’s around us, to place things in boxes, that perhaps there will always be an elusive piece of the jigsaw just out of reach from our comprehension.” – Tom Page, Director, Open Doors Gallery
Kíra Krász was born in Pécs (Hungary), 1995. She moved to the UK to study Photography and graduated in 2019 from the University of Brighton. Kíra’s work places emphasis upon the physical properties of the photographic print, for her the act of printing an image does not represent a conclusion to a defined process but rather an opportunity for discovery. She is curious to experiment with various printing techniques, to explore new directions, and find intriguing outcomes. Her work is made using both digital and traditional darkroom processes. A key element of her work, and one that also helps to form an individual aesthetic, occurs as an outcome of her choice of printing material. She prints images on old paper, family recipes, cereal boxes and even directly onto pages torn from books. By doing so, she achieves a sense of harmony, or in some cases, deliberate dissonance, between the image and its print, often printing one image several times, on several different materials to observe how it either embraces or rejects different canvases. She also applies methods such as cutting, layering and montage as well as installation.
In search of the origins of personal understanding and by engaging with the forms of the once learned and since forgotten, I encourage my mind to wander and to question everything that surrounds us: Plants, stones, forces or people interacting with each other. Those moments when the mind consciously renders rays of light reflected by skin or other surfaces. My camera is the observer, the only tool which comes up with real numbers indicating the amount of light hitting the lens, my only way to intrinsically preserve these states of being. I am thinking through the part I play in making images by offering a path, others can walk with me. This source of inspiration – the images from my everyday life is accompanied by dreams, paintings, readings from philosophers, or by the sound of music. Paul Klee’s sense of play with shapes and colours, a meeting with a stranger and him becoming the man I know the most, the depth of Susan Sonntag’s sentences, the Silence in John Cage’s music- all become unified in the form of my photographs when printed onto the material that served good function at primary school, later high school. I use those yellow sheets of exercise books, those textbooks, and various other educational material to show where the base of my experience lies, where the origins of the visual codes might be found. Nostalgia, curiosity and a need to preserve become an essential part of this process. Through dismembering books of theory, I am also re-membering the principles of algebra, geometry, biology and other fields of science, understanding them from the perspective of intuitive human experience. With passing years, and with re-evaluating and revising this knowledge, I manage to layer my experience onto the previously learned. By arrangements of simple lines and circles and the harmony of shape and content, I position the images upon their chosen canvas. Through the invention of flawed measurements, I amuse on the abstract pleasures of our rational minds.” – Kíra Krász, 2021
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