With pictures whose style I would describe as subjective documentarian, I’d like to show harmony, and reveal the unknown. When taking a photo, I’ve always been driven by the desire to find the viewpoint and time whence and when the subject shows a photogenic face; I’ve always wanted to involve the exciting play of light and shadow when photographing something I see. It takes a lot of time to find the right viewpoint and moment, but that is the only way to make such details visible that may be everyday, but remain unseen by people. This, I believe, is also the key to revealing the intentions of the architect, the designer.
I have been photographing churches built after the Second World War since 2018. When it comes to churches, it is particularly true what Ferenc Callmayer said: “It is easy to describe a bad building. You are hard put to do that with a good building. I stand there, look at it, love it, and I don’t know why.” While photographing Medgyaszay’s works, I first had this sensation at the churches of Rárósmulyad and Ógyalla, and this strange, difficult-to-identify feeling drove me on to find and photograph all of Medgyaszay’s works.