All along the Metro Line 3 of Budapest, a plastic fantastic experience takes place everyday. Bright colours and sinuous shapes are placed in one of the most depressing areas of the city, reminding us of an imaginary, futuristic past.
"Blue Line" is a piece of the collective memory that has been left out in the public spaces of Budapest, now so alienated from the present moment that one could think it is an art installation, not real urban furniture.
The deliberate, timeless aesthetic of the images exposes an obvious confrontation between brightness and darkness, past and present. At the same time it pushes the observer to wonder: How much things have changed after all?
Blue Line Photo Book
Blue Line Accordion Book
Lights of Budapest
Throughout most of the 20th century, neon lights were the sign of progress and modernity – and behind the Iron Curtain, the illusion of it. Fixed upon the crumbling facades of the once magnificent buildings of post-war Budapest, neon lights beamed banal advertisements and Communist propaganda just like in any other country of the Eastern Bloc. Still, from the relative comfort of the relative freedom of post-Communist Hungary, it is easy to feel some kind of a nostalgia for a time when advertisements (not the political ones!) seemed more direct, more honest, without trying to sell imaginary „lifestyles” through marketing hocus-pocus. Even regardless of their message, socialist era neon lights have various historical, artistic, townscaping and even some „archeological” value. Exploring them is one of the mystical ways to try to comprehend the realities of everyday life behind the Iron Curtain.
Lights of Budapest wants not only to document this characteristic of the city but create a catalogue where all the images are presented with the same kind of framing and a palette of saturated colours that reminds us to the American "Golden Twenties" images. Even if the political situation was totally the opposite, the purpose was the same: create this idea of modernity and fake prosperity.
Through this series, I contrast past and present, and through the crumbling neon signs set against an optimistic background, I want to expose the simple promises Communism could not deliver.