My favorite links:
Szederkényi út 1. 3./12.
Lajos Siro (Hajdúnánás, 1964 - ) graphic designer, photographer, his photos are placed on the border of these two artistic areas.
1994. Member of the Union of Hungarian Fine Artists. 1995. Member of the Association of Hungarian Photoartists.
1996. Member of Studio of Young Photoartists. 1999. Member of Association of Hungarian Graphic Artist.
Nyíregyháza Bessenyei György Teacher Training College, geography and arts professionals
important Group Exhibitions:
LEAP / SZÖKŐ
Leap Day Exhibition Series in Nyíregyháza
1996 • 2000 • 2004 • 2008
Thoughts were added to the photographs by:
Lajos Parti Nagy
New York in another way. Exhibition of Lajos Síró.
Élet és Irodalom'/weekly cultural periodical/ 22 September 2006 volume L, issue 38
"To take a photograph is to align the head, the eye and the heart. It's a way of life."
If we mention the name and conception of the city New York, all our prejudice and stereotype start in action right away. We even have linguistic and visual stores to imagine the virtual set-up of the city. But Lajos Síró tries to create his own city, instead of noise he has silence, instead of moving and pulsation he has serentity, instead of colours and lights he has the tone of brown. There are so many hasles about the importance of photographs when we try to describe its position and expansion inside fine arts. About how graphics and paintings, as a traditional media, built in and institutionalized the photographs as a procedure. ’Not the photographs incorporated the art but vice versa’- this is what you can read on the catalogue of Műcsarnok’s photo exhibition in 2001. ’But there is not well known how fine art worms itself into the photography.’ Originally it was an impement to fixing documents - how graphic , sometimes paintings, become significant. Int he last 20 years the technical development of photography- included the mixture of traditional and the latest technical development- resulted the extension of the photography’s boundaries. This tendency has been determined in the Hungarian photography since the 1990’s.
Lajos Síró makes an art from a picture. His works have been made with photosensitive material and optical system but there is nothing to do with ’classic’ photo taking. His photos sometimes there are panel paintings which have been made with retouch pistol, adhesive slates or chalk resemble to graphics.
The inventor of photograph taking is Daguerre, a French scene-painter, who introduced his invention, dagerotipia, in 1839. The argentotipia- sepia method, iron sepia print etc. has been known by the professional photographers since 1842, and this technique had been used between 1885 and 1930. Kallitipe belongs to the sepia method which has been being worked with photosensitive liquor. This is the method what Lajos Síró has used. He undertakes to document of the remake, this is the reason why his fine item intense optics can document fire escape, street furniture or wood boards covered beach .Insipte of document the consumer society’s ritual objects , he reduces the view to the united plastic shapes and space structure. For Síró the world’s objects, our built surrounding has been made because he can create a well composed still life. He also reckons architecture as a still life. That’s why his New York photos are not discover the attribution of metropolis with the viewer but the interaction of the man made nature, architecture with natural phenomenon. The warmand soft tone performance of the mysterious semidarkness, giant ’building blocks ’covered with clouds. And inspite of thevibration of the pulsalting city, it shows some kind of immobile consistence. With gently tinged plastic surfaces, dull lights, reflections, thebill of parcels of the ragged walls of the buildings he recreates a visual myth as you are in New York in the 1920’s. As we are looking at the photos we are also waiting for the performers of a Hollywood gangster movie to appear from the time of alcohol prohibition. But they are not coming and there is not even a car to refer the historical myth. The city and the streets are empty, there isn’t any evidence of the time l. This is also the reason why it is so eye-cathing some of the photos where huge billboards break the empty space. But we also feel that these giant billboards are not individual segments of the city’s space but the real perception, which are part of Síró’s still life.
Lajos Síró’s New York photos are big city photos which cannot be gainsaid. In spite of one or two stereotype ( Saint Thomas Cathedral, the ’Ironinghouse’ designed by Daniel Burnham or the famous New York fire escape ) this visual experience can be lived and documented anywhere and anytime. It also can be the reason why he didn’t give titels, for the given location, to the photos. And with this recreation of New York pictures eminently became part of Lajos Síró’s fine art and not photography.
Photography's Antiquarian Avant-Garde: The New Wave in Old Processes
Lyle Rexer | ISBN-10: 0810904020 | ISBN-13: 9780810904026
Regard Hongrois / Magyar Tekintet