“Her research into the views and microclimatic environs the city took off with the Shadows of Budapest, to be followed by the Shadows of Paris and of Rome, with their cobblestoned pavement structures and the pillars of the Pantheon rebuilt in new formations.”- Katalin Néray

Shadows of Budapest 1, 1995, photo, oil on glass, 30×40 cm

/in private collection/

Shadows of Budapest 2 , 1995, photo, oil on glass, 30×40 cm

/in private collection/

Shadows of Budapest 3, 1995, photo, oil on glass, 30×40 cm

Shadows of Budapest 4, 1996, photo, oil on canvas, 50×70 cm

Shadows of Budapest 5, 1996, photo, oil on canvas, 50×70 cm

Shadows of Budapest 6, 1996, photo, oil on canvas, 50×70 cm

Shadows of Budapest 7, 1996, photo, oil on canvas, 60×70 cm

/in private collection/

Shadows of Budapest 8, 1996, photo, oil on canvas, 40×50 cm

/in private collection/

“In her case, the use of transparency can be observed in the interplay between dimmer, rough surfaces that suggestively make themselves felt, and those from behind which they emerge, a series of barely matte surfaces, logically thought through and carefully wrought in a graded scale of light over darker grey.” – Krisztina Passuth

Shadows of Budapest 9, 1996, photo, oil on canvas, 55×65 cm

/in private collection/

Shadows of Budapest 10, 1997, photo, oil on canvas, 80×100 cm

/in private collection/

Shadows of Budapest 11, 1997, photo, oil on canvas, 160×130 cm

/in private collection/

Shadows of Budapest 12, 1997, photo, oil on canvas, 110×250 cm

/in private collection/

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