Gálos László
As a creator, he explores the relationship between the subjective and „objective” reality. Testing the limits of perception and cognizance, since 2015 he has almost exclusively been using wet plate collodion in his photographs.
His photographic works has been displayed at seventeen solo exhibitions as well as at more than a hundred and fifty group exhibitions and festivals in seventeen countries.
At the same time, in his performative works, the reflection on the interaction of the physical and virtual worlds, and the investigation of their relationship is gaining more and more emphasis. He has been performing regularly since 2018. His performances, video works and stage works have been played in six countries.
He has won the creative scholarship of the National Cultural Fund of Hungary eight times since 2017. In 2017 and 2019, he won the main prize at the Szentes Nude Photography Biennial.
He is a member of the InstArt Group, the Collosphere, the L1 Independent Artists Association of Public Utility and the Association of Hungarian Photographers.
Virtual-Corpus Flooding
Today’s flood of digital images are makes the spectacle irrelevant. The continuously flowing images don’t just blurs together, they also blur everything. This progress eliminates the differences between the types of visual communication. Which leads to disorder in the evaulation of interpretations and meanings. The constant presence compulsion of social media generates an image dumping, in which are disappearing the recipient’s diverse routines and attitudes to different kinds of visual messages. Both the emotional and logical processes associated with significant images from any point of view are undergoing a transformation – if there are significant images still existing at all.
Corpus Flooding is based on the fact that the naked display of the human body is one of the most significant and, of course, the most controversial cultural topos. Accordingly, in the case of nude photos, why and how an image is created and appears is of particular importance. Of course, the context is still decisive for the photographed persons – but much less so on the receiving end.
I show this transformation by putting the digital files that flow daily on virtual channels back into material reality. For the project, I was looking for people whose work is related to the body and nudity. I ask the participants to take a nude selfie every day for a long time and send the image files. From the incoming images I create automated montages on the one hand, and creativly editing according to my own style on the other hand. Then I transform this montages into photographic works of art with collodion. The resulting visual material is an atmospheric documentation of the transformation of our visual culture and, through it, our identity – if the category „document” still exists at all.
