About

I am a media artist, researcher and university lecturer based in Sopron, Hungary. I work with moving images in many different forms, from film, photography, VHS and digital cameras to animation, 3D image-making, real-time environments and video games. I like moving between these technologies, especially when their differences begin to show.

I grew up in Szentes, on Hungary’s Southern Great Plain, and came to Sopron while still at secondary school. By then, two things had already taken a fairly serious hold on me: computers and cinema. I spent a lot of time programming, playing video games, experimenting with computers and trying to understand what was happening behind the screen. At the same time, film was becoming much more than entertainment. As a teenager, I was drawn to works that seemed to operate according to their own strange logic. Twin Peaks and Lost Highway were especially important encounters. They showed me how moving images could create a world, an atmosphere and a sense of mystery without feeling obliged to explain everything away.

Looking back, computers and cinema were never as far apart as they may have seemed. Film made me think about images, time, memory and storytelling, while computers made me curious about systems, interaction and how things are constructed. Filmmaking became the more visible part of my early work: I began shooting, editing and making documentaries and short films in Sopron, often starting from places and stories close to me. Several of these works later received festival awards and professional recognition, including Castle on the Border and Icarus Doctor, while Growing was selected among the finalists of the experimental category at the Zsigmond Vilmos International Film Festival.

Theory and practice have never made much sense to me as separate territories. I do not think of theory as something added to an artwork after it is finished, nor of practice as an illustration of an idea already worked out on paper. For me, thinking and making happen together. An image can produce a theoretical problem, a text can change the way I use a camera, and building a digital environment can make an apparently settled idea uncertain again.

Gábor Bódy has been an important figure for me for precisely this reason. As both a filmmaker and a theorist, he demonstrated that making images and thinking rigorously about them can belong to the same practice. That idea has stayed with me: I have never felt much need to choose between sitting with a book and sitting in front of an editing timeline, a camera or a 3D viewport.

Recently, I have found myself moving in several technological directions at once. Alongside 3D and real-time image-making, I experiment extensively with VHS technology, analogue photography and digital cameras from different generations. I am fascinated by what each machine does to an image: what it preserves, what it loses, what it invents and what kinds of looking it quietly encourages.

Sometimes I want to build an image polygon by polygon; at other times I would rather point an old camera at something and see what the machine makes of it. Neither feels more authentic than the other. They simply allow me to ask different questions.

These interests continue in my research and teaching. I am currently pursuing practice-based doctoral research at the University of Theatre and Film Arts Budapest while teaching at the University of Sopron. My courses range from film and moving-image theory to 3D design, game studies, game development and digital education. For me, the classroom, research and the studio are not separate compartments. An idea can begin in a seminar, become an experiment, turn into an artwork and eventually return to the classroom in a rather different form.

My films and visual works have received several awards and festival recognitions over the years, and in 2024 I was named Lecturer of the Year at the Benedek Elek Faculty of Education at the University of Sopron. I value those moments, but most of the work still begins in a much less ceremonial way: with a camera, an old tape, an unfinished 3D scene, a game, a strange image or a question that refuses to leave me alone.

I still like the same basic thing I liked when I first picked up a camera or started writing code: making things, taking them apart, thinking through them and finding out what else they can become.