I was born into a family in which most of my relatives worked as well educated vegetable growers or doctors, predominantly surgeons, one of my Grandpas was a spine surgeon expert, and the other a soccer referee, and also worked at the Hungarian National Railway Company in Communism, when he retired he still sold the tickets at the station, where they lived with Granny on the outskirts of Budapest. My mother still works as a very good lawyer, and my father was a very important journalist at newspapers and televisions. As it was usual my parents were working a lot, while i was with my grandparents. So i grew up spending much of my time in the land in the countryside, or in the hospital where my grandpa was the director where people got rehabilitated after operations, their home was even situated inside the grounds of the rehabilitation institute, and towards home I jumped over the concrete fence, I went through the forest.

I think this was a crucial and diverse effect on my life that on 1 side we belonged to the land in the countryside, and on the other to human bodies near the city. Both trends are indeed in the circulation of a communal activity, of course such as many other kinds of works. Water polo was kind of a tradition, such as hunting for large beasts. These also taught me a lot. As Janos Pilinszky poet says making art is also similar to hunting, extreme concentration with a cleared thinking, arriving into the middle of an issue, when there is the animal pulling the trigger. Lived in South Africa one and a half years and worked as a water polo coach there when i was 19 YO. Not long after my professional sport career(15 years) and done many years of fishing, I completed my studies on cinematography in the School of Visual Arts in Sydney in 2001. When returned to Budapest I got occupied as a documentarist photographer. My ongoing long-term work started in 2011, In the beginning it contained an ensemble of landscapes, abstractions, and objects photographed. In 2016 I started also making self-portraits and let in more and more conceptional ideas and different mediums of artmaking into my workflow.

After a while I realized the landscapes were telling me things about myself, which I could started using for self-knowledge exercises, and still one of my goal to maintain my authenticity for others. This was a radical change for me coming out of the fog that was filtering my real character and my life. For many many years before partly I played a role that was acceptable by the society and people around me, I acted if everything was cool, I had an expensive car, I snowboarded 60 days per year, I had a good salary, and there were many girls around me, more than it is usual. But somehow on the very bottom of my heart I started to feel I need a change.

I started taking part in therapy sessions, because of being almost daedly heartbroken, after a relationship which was based on co-dependency, maybe from my side more, since I had huge problems with addictions already. In that period I could not really laugh for about 4 years, had several panic attacks related to deathfear each day, even agoraphobia, and got very badly depersonalized. I have to emphasize that now and even never I wanted to commit suiciding, I am just not that type, and I never will be. Even in my most difficult times I had a hope for a better living. When I had issues almost killing me, I went to a therapist. Space then was desaturated, I was very far emotionally from where I was physically. As a photographer I visited ruined areas to find my myself in this trouble. At the age of 6 I was attacked by two monsters, they partly took my soul. At the swimming pool where we practiced water polo, this took so long to even just remember what happened way back then. That year was the root of my mental health issues, it went into a multiple addiction path. I was traumatized very badly and the trust of life inside me got broken. Anyway that environment was brutal, we were tortured regularly by elder players or the trainers. For example chains and wooden slippers were used to beat our asses, sometimes even to bleeding. Punishment was usual, and the elder players were torturing youngers at so called training camps. Probably because went through all of these I devoted all my life I was against torture, and even keeping myself alive against enemies. Well as a kid we used to kill bugs with creative methods with friends from the neighbourhood on the field, near to our home where we lived with my parents. I am a vegetarian since 2001, and this is probably the reason.

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Practicing a widened method of Fine Art, I explore several kinds, whether they are related to photography, drawing, painting, sculpturing, creating object, installation, performance, social activism on the streets of Budapest, or virtually on Facebook for example.

I use art therapy as a function to heal and re_form as a human being, visual arts, because my soul was hurt partly through my eyes were badly. In the workflow there is a part of reconnaissance, the detection, that is followed by grief, for making it possible to grow.

selected solo exhibitions:

2019. Passport, curated by Lina Sophie Stallmann and Daniel Spivakov, London, England / Stallmanns Art Consulting

2016. Fusion, curated by Gabriella Csizek, Month of Photography, Bratislava, Slovakia / Hungarian Cultural Institute

2015. Impasse, curated by Gabriella Uhl, Budapest, Hungary / FUGA Budapest Center of Architecture

2014. Impasse, Budapest, Hungary / House of the European Union

selected group exhibitions:

2022. Art in Book Forms, curated by Anita Farkas & Idil Emiroglu / @Izole, Budapest, Hungary / Manyi Cultural Workshop

2019. Deepflows, curated by Rita Somosi & Klara Szarka, Debrecen, Hungary / MODEM Center-Modern&ContemporaryArt

2019. Perspectives, curated by Rita Somosi & Klara Szarka, Budapest Photo Festival, Hungary / Kiscelli Museum

2018. Found a mentalism, curated by Antka Hofmann & Andrea Hilger, Ostrale, Int. Visual Arts Fest.Malta / Messina Palace

2017. Re_form, curated by Oliver Kratz, Ostrale'O17-Biennale for Contemporary Art, Dresden, Germany / Ostra Park

2016. Regi/on, curated by Reka Kenez, Studio of Young Photographers Hungary, Kalocsa, Hungary / City Gallery

2016. Pictures & Pixels | National Salon, curated by Klara Szarka, Budapest, Hungary / Kunsthalle

2015. Heritage: Socialism and after, curated by Edit Barta, Kecskemet, Hungary / Hungarian Museum of Photography

2014. Budapest our metropolis, curated by Ipek Fusun, Istambul, Turkey / Hungarian Cultural Institute

2014. Photographies Suisses et Hongroises, curated by Zsazsi Chaillet, Genéve, Suisse / Nest Gallery

2014. All Is, curated by Peter Koppanyi and Akos Banki, Budapest, Hungary / Latarka Gallery

2014. Landscape Experience, curated by Gabriella Uhl, Photo Biennale, Esztergom, Hungary / Castle Museum

2014. Common ground, curated by Anna Balazs, Studio of Young Photographers, Budapest, Hungary / Art Bazis Gallery

2013. Budapest Water Summit, Budapest, Hungary / Hungarian House of Photography

2013. Present Continous, curated by Gabriella Csizek, Budapest, Hungary / Hungarian House of Photography

2013. Close Encounters, curated by Laszlo L. Revesz, Wien, Austria / KultureAxe Gallery

scholarships, awards:

2015. Scholarship of Hungarian National Cultural Fund

2014. Photoport International Portfolio Review, Budapest / Best Portfolio award

2013. Photoport International Portfolio Review, Budapest / Special Prize

2012. Photo Ireland Festival / shortlisted

2009. Scholarship of Hungarian National Cultural Fund

works in collections:

Hungarian Museum of Photography, Kecskemet, Hungary

Ostrale - Centre for Contemporary Art in Dresden, Germany

Privately owned works in Amsterdam, Budapest, and Geneva

selected publications:

2020. Excercises in self-portrait, written by György Cséka art critic @punkt.hu / Hungary

2019. Passport Softcover book / Published by Innen in Zurich / 120 pages / Color Offset Printed

2017. Demarcation Zine / Published by Innen in Zurich / 32 pages / Color Photocopy

2016. Gaia Conti, Le eco del passato, #AImagazine-Fall2016, Greta Edizioni / Italy

2016. Slow melancholy by Rita Somosi in Art Photography Magazine #2016/1 / Budapest

2014. Art Photography Magazine # 2013/4 / Budapest

2013. Present Continous Book # 7 - The Hungarian House of Photography / Budapest

2013. Lodown Magazine # 85 Berlin, Germany

2012. Zug Magazine # 3 / Published by Innen in Zurich

For further information or enquiries please contact via info@gasparrisko.com.

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