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Monochromatic modes of expression

Puja Gupta, December 3, 2015, DHNS 11:57 IST

Candid shots

Photographer Illés Tóth’s ‘Hungarian Visions’ is displayed at Hungarian Information and Cultural Centre (HICC). The 31-year-old Hungarian artist has captured day-to-day life and beautiful locales of the central European country and 39 pictures displayed at the show, which give a glimpse into this landlocked country.

The exhibition, according to Tóth, is an attempt to introduce Indian viewers to the picturesque beauty of Hungary. “The way you love your country or the way any one loves his country, is the way I love my country and I want it to be seen by everyone,” he says. “Not many people in India have seen my beautiful country, so I have these pictures with me to provide them a glimpse of the far off land and hope they appreciate its beauty.”

To one’s surprise, Tóth has given colours a miss. He believes that monochromatic ways of expression are abstract and they help people to connect with it easily. “This exhibition is about the contrasts and the composition. Contrast is life, and life is full of contrasts. And no colour is more contrasting than black and white. For me the monochrome is an abstract way to present reality. I can accentuate the forms and tones that make images honest.”

Tóth, who has been doing photography professionally since three years now, says his maiden visit to India has left a big impression on his mind. He appreciates the “unique” composition and the wise use of colours by Indian photographers.

“Hungary and India are quite different but, of course, there are some similarities as well. There are obvious cultural and architectural differences. But I love how colourful this country is! I have clicked so many pictures here that my camera’s memory is already full. I shall be holding an exhibition in Hungary displaying all these colourful pictures and tell fellow Hungarians how vibrant India is,” says Tóth.

The exhibition is on display till December 20 at Hungarian Information and Cultural Centre.

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