One characteristic of imagination is that if it has less information to rely on, it is often willing to work more intensely. | Milán Füst
I’m observing what Zoltán has eyes for. Mostly for what’s possible but not probable. Milán Füst calls this romantic.
Zoltán cannot be cliché, that’s why he willingly chooses clichés as subjects; for example he notices and points out the beauty and ethereal nature of sea waves, this most eternal and dissipating drapery.
I always find the unusual, the peculiar, the improbable in Zoltán’s pictures, of course I don’t notice the peculiarity why the photo was taken but rather what is peculiar for me right there and then.
This makes the book worthy of picking up now and again, as when the spectator-reader reaches the last picture, maybe the most emblematic photograph of the volume, he involuntarily starts over if not for anything else then to see the larger cut-out of that photograph: “a table covered with white cloth on the sands of the bay, two chairs, the silhouettes of tall houses in the background – like some sort of a metaphysical wedding, a table altar, chair-bride, chair-groom, the latter with a suitcase”. | Lajos Parti Nagy
The characters of a book become animated not on the page but in the reader’s mind. Hence, the tool of a writer is the imagination of his audience. | Milán Füst
If you are curious which set of pictures Zoltán selected the album’s material from, click here!