The three works in the exhibition are each a photographic project, a summation of my thoughts over the past five years and the culmination of a period of my life.
In the series Objects in mirror are closer than they appear, photographs of roadkill are mounted on car wreck mirrors using a wet collodion process. The series is a fundamental reflection on the phenomenon of social coexistence based on vulnerability and inequality, and the process by which the technological-economic world order and the destruction of the elements of nature as collateral damage to modern societies do not necessarily elicit compassion.
In my series, Shot Photographs, the hunting foxes, as symbols of power and the arrogance of superiority, and the photographs of them, become targets, as they are shot with a shotgun, based on the idea that one of the essential (magical) functions of photography is to identify the phenomena depicted in the image with the depicted itself.
The third series is a modest attempt to formulate a kind of conclusion that no longer distinguishes between the victor and the vanquished, since their fates are destined to go in the same direction, both to be destroyed. Dust is, by definition, what we leave behind and what we leave behind. It has a symbolic meaning, it is a metaphor in the vernacular, in philosophy, in religion, in art.
For example, house dust is mostly made up of dead skin cells. Photographs of tiny dust particles swirling in the air give the viewer the impression of seeing an image of the universe, but on closer inspection the reality depicted becomes clearer, while the individual images also function as mirrors.
By exploring the relationship between the part and the whole, the three works point to the fatal inevitability of the message in the details, which rewrites the meaning of the whole.
Mária Pecsics