Keywords
Artistic Communication
Meaning in Art
Artistic Narrative
Photography
Philosophy
[IN]VISIBLE MEANING is an experimental photography and installation project that explores how meaning is constructed through the interaction between artist, artwork, and audience. Drawing on philosophical ideas like Plato’s Allegory of the Cave, the project questions whether meaning lies in the image, the artist’s intent, or the viewer’s interpretation.
Rather than assigning fixed messages, the work creates open spaces for personal reflection—inviting viewers to engage emotionally and intellectually with visual narratives. Through photographs, videos, and installations, [IN]VISIBLE MEANING examines the fragile, subjective, and often illusory nature of perception itself.
[IN]VISIBLE MEANING is a research-based artistic project that explores how meaning is constructed, perceived, and interpreted. At its core lies a dialogical process: a dynamic exchange between artist, artwork, and audience. Artistic communication, in this view, is not linear or singular—it is shaped by a complex interplay of philosophical, psychological, and social elements. Meaning does not reside solely in the image, nor is it fully controlled by the artist. Instead, it emerges in the space between all three components, activated through the viewer’s engagement.
The project originated from a fundamental question: How do we understand meaning? Is it rooted in transcendental truths, or is it shaped entirely by human perception and context? Using photography as its primary medium, [IN]VISIBLE MEANING interrogates how images—especially those not created with narrative intention—can still provoke powerful emotional and intellectual responses. In this framework, photographs function not as conveyors of fixed messages but as mirrors of interpretation: spaces where memory, mood, and cultural filters converge.
Influenced by philosophical metaphors such as Plato’s Allegory of the Cave and Rumi’s elephant in the dark room, the project suggests that perception is inherently partial and subjective. These stories remind us that what we see is often a fragment, and understanding emerges from how we piece those fragments together. Likewise, in [IN]VISIBLE MEANING, each viewer constructs their own narrative, shaped by their unique perspective, emotional state, and life experience.
This leads to a key focus of the project: narrative not as linear storytelling, but as a structural and conceptual space—a meeting point between information and emotion. Artistic rhetoric, when embedded in visual composition, becomes a silent language that binds the artist’s intention to the viewer’s interpretation. Within this space, the narrative is not imposed but allowed to unfold.
Rather than delivering clear or didactic meanings, [IN]VISIBLE MEANING presents open-ended visual encounters. Through a combination of photographic series, video works, and immersive installations, the project invites reflection on the conditions of meaning rather than on any singular content. By staging encounters where viewers are encouraged to look, pause, and project their own understanding, the work transforms interpretation into a co-creative act.
Ultimately, [IN]VISIBLE MEANING frames the artist as a facilitator of perception—someone who does not dictate meaning, but crafts conditions where meaning might emerge. It embraces ambiguity, uncertainty, and multiplicity, offering a space where the seen and unseen, the said and unsaid, the known and unknown coexist. In doing so, it challenges the viewer not only to see, but to reflect on how they see—and what it is they bring to that act of seeing.
Comfort Zone is a photographic series exploring the complex relationship between individuals and urban space. Through a visual investigation of how people inhabit and are shaped by the built environment, the work reflects on themes of visibility, displacement, and belonging within the modern city. Influenced by spatial theory and phenomenology, the series frames architecture not as a neutral backdrop but as a political and emotional landscape that encodes social structures and influences human behavior.
The FEAR Photo Series comprises 12 photos taken during quarantine days of the pandemic. The series highlights the impact of media and news related to the coronavirus in our everyday life. Next to all photos, we see a lead written by important international media.
In addition to the media, the politicians’ words in their everyday speech would influence people’s lives. Although the media’s efforts worldwide create a collective awareness, this awareness could transform into social fear in times of crisis and catastrophes.
The Allegory of the Bubble, exhibited at 2B Gallery in Budapest as part of The Presence and Absence group exhibition, explores the tension between perception and reality. Through a sequence of three photographs showing a bubble seemingly bursting on a distant rod—and a sculptural installation using a balloon, wire, and shadow—the work challenges visual assumptions and reflects on the fleeting nature of existence.
The Bubble is a photographic installation that captures a soap bubble suspended near the sharp tip of a pole—frozen in a moment of fragile tension. Displayed behind a metal fence, the work creates both a visual and physical barrier, inviting the viewer to engage from a distance.
This spatial setup emphasizes themes of vulnerability, restriction, and emotional detachment.
[NON]SENSE is a multi-layered art installation exploring the fragile boundary between meaning and meaninglessness through photography, video, and interactive objects. Inspired by Freud’s theory of personality, the work unfolds in three stages—Id, Ego, and Super Ego—guiding the audience from instinctive perception to critical self-reflection. Engaging both the outer and inner worlds, [NON]SENSE challenges viewers to confront their own interpretations and question the narratives they construct.
Both collections present a sense of inner dialogue and solitude as an observing outsider in a crowd. The creator of the works, similar to the viewers, is overwhelmed by the environment.
They could seek refuge in the comfortable definitions or the notion that the meanings that we are used to are no longer adequate.
The photos are dynamic and simplistic, using the power of geometric shapes, repeating rhythmical elements and strong contrasts. What we could ask ourselves instead is, what do we find resonating in the photos and what it can teach us about ourselves. After all, these could be core questions to reveal invisible meanings.
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