Artist
Krystyna Bilak
Krystyna Bilak was born in Munkachevo, currently, an artist living in Budapest. She graduated from Photography BA at the University of Kaposvár and Photography MA at the Moholy-Nagy University of Art and Design (MOME).
Can we consider photography as a tool for extended cognition? Krystyna examines this issue in her earlier work, which also explores the interaction between people and space, and provides insight into the different areas of perception with the tools of photography. While studying the human cognitive function, she takes steps to get to know herself. Krystyna sees photography as a reconnaissance tool. For getting acquainted with the unknown areas, she stretches the possibilities of the medium and experiments with frontier topics.
At first, through personal topics, she outlined herself with photography, and later on, the characteristics of the medium and its relation to human and reality began to interest her. She explores the subject of her current interest in details, in many different methods, experimenting with various media to understand the topic as a whole picture. At the moment, she is interested in the directed viewpoint created with images and the features of image reading.
She was represented in several national and international exhibitions. From 2016, she is a member of the Studio of Young Photographers. In 2017 she was awarded the Photography Scholarship by The Association of Hungarian Photographers. From 2018 she is a member of The Studio of Young Artists’ Association. In 2019 she won the Budapest Portfolio Review and she is part of the Futures Photography platform.
Komplement
We try to find the milestones of truth in the set of countless images, but we use the senses of past times. The homogeneity of everyday life is permeated by the chaotic networks of information, in which both real and false information circulate. I’m trying to figure out the semiology of the directed viewpoint mediated by photography and its interpretation mechanics. The meaning of photographs should be defined not by absorbed in their subject, but through their function. In spite of the illusion of objectivity, the representation of photographs is required to be deciphered. The technique of deciphering can be learned and acquired. I have created visuals with manual tools that deceive the viewer for the need for decryption, and which, using the strategy of the directed viewpoint, are about the phenomenon itself. I use the human body as the primary reference source for decoding images.