Balazs Csizik, Synesthesia No. 3, 2019, Hahnemühle giclée, metallic baryt, dibond, 110x73 cm, Courtesy of Ani Molnár Gallery
In his series Synesthesia, young Hungarian photographer Balazs Csizik (1987) observes the materiality of our built environment. The buildings and the surrounding spaces serve as a canvas, which is colored and shaped according to the dynamic range of the image, thus creating an isolated, aesthetic nature. These color gradiations and depth effects of the works carry synesthetic connections. The architectural and human context interacts with a network of visual and thought associations. In the dystopian street scenes, the artist highlights the monolithic buildings, while human figures lose their human, social role in their frozen state. Csizik reflects on abstract photography, contemporary architecture and the tradition of constructivism and suprematism. This reductivity carries a certain rigidity and distance, in harmony with the alienated form of the displayed urban scene. Thus, the artist puts the Eastern-European phenomena of post-socialist visual culture in a different perspective.