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OXANA SZTREHALET PORFOLIO 2018


Oxána Sztrehalet graduated from the ”KISKÉPZŐ” Secondary School of Visual Arts in 2011. She started her studies at the Media Art Institue Faculty of Arts University of Kaposvár in 2013, where she graduated in 2016. She is currently a master student at Moholy-Nagy University of Art and Design Budapest. The effects of personality, self-knowledge and personal past are the subjects that she has embraced over the years. In her series, she raises questions not only about herself but the world around her as well. In her work, the subject of womanhood, the essence of womanhood, is a common topic. Her photographs approach most of the questions from a psychological point of view. In many of her works she uses her own body the create images. These images aren’t just photograps but body arts and performance arts aswell. She says: “The most matter-of-course medium to interpret the world end to express my feelings is my own body” “For the female figure of Oxána Sztrehalet’s work, the pain of the past is as much weight as the punishment imposed by the Gods for some of the personas of Greek mythology. The visual and artistic processing of their own body and childhood stories, their revelation not only helps the creator to understand and answer the problems, but many can identify with them. “ /Sándor Áron Károly/


FAMILY NEST A community, such as the family, has the consequences of its common past in its behavior. Their relationship with each other keeps everything that has an impact on them. My daddy was a drunk when I was a child, often beat us. My younger brother, at the age of nine was in a car accident, he was at the ICU for several months, he was rehabilitated for a year, but unfortunately, many things remain stunted and he can’t catch up with his peers of his age. One year ago my dad moved away, got together with a worker, started the divorce. My mother got sick of this, she was operated this fall. My dad has been dropped by the new woman, he came back to my family and my mom. When I started the series, I did not know what it would be like, but I was looking for something at home, some sort of answer to how to live with them then to work as a family. I think it is impossible in a classical way. I feel that six lonely people live in the two-room living space, they have hardened over the years to survive.


TECHNICS: DIGITAL PRINT NUMBER OF PIECES: 20 SIZES: 11,8x15,7 INCHES 2015-2016


EFFECTUM Finding the root causes of our failures is the key to understanding them. That was the reason why I began to observe my recurring negative experiences. I soon came to the conclusion that my constant state of defeat began from my parents’ own childhood traumas, which in turn originated from their parents and so on. My conceptual photography series was inspired by the lingering effects of childhood on my adult personality. While taking the photos I relived painful childhood memories, which allowed me to grow into a healthy, woman emerging into adulthood. An attempt at breaking this inevitable chain of traumatic events began with photographing this series. Even though the series was inspired by my own personal experiences captured in photographs, it speaks to any adult plagued by hurt remaining from their childhood. Familiar characteristics include depression, dependence, insecurity, disassociation, staying at a safe distance and the carrying of burdens, which tend to go unnoticed by many, even those who carry them. Childhood determines who we will become as adults, therefore every parent is responsible for much more than the physical well-being of their child; they are accountable for their child’s spiritual and mental health as well. Disregarding this, unsuccessful marriages, dependence, fears and aggression are all passed on from one generation to the next until one person ceases to do so by making a conscious decision to prevent further harm. BA DIPLOMA MASTER PIECE AT UNIVERSITY OF KAPOSVAR


TECHNICS GICLÉE PRINT S NUMBER OF PIECES: 5 SIZES: 18,3X27,5 INCHES 2016-2017


I-RELATIONS Developing self-knowledge, awareness of the personal past and recognizing its consequences is the responsibility of every person who wants to live a complete and conscious life. As a young adult, during the university years, I felt that I was different from the young people around me. In the communities I find it difficult to find myself, I operate with constant distances and distrust towards my companions, while I crave their love and recognition. I avoided intimate situations, emotional moments, I did not know kindness, selflessness. My anxiety about this and other causes caused physical symptoms. I got panic attacks, initially understood as the cause of various illnesses, I did not think of psychic reasons, so I had a lot to do with doctors, but every test was negative. I had to understand that if I wanted to get rid of them (the anxiety attacks and the properties I felt to hinder me to be better off) I have to deal with my past, I have to dig deep inside that and myself, too. In my diploma work, I studied my bad qualities and mental symptoms throughout my university years. I was most keen to understand them to find their reasons. I thought (although I did not know this at the beginning), my diploma work is therapeutic and solves my problems. I was wrong in that. My series was a diagnosis, naming a symptom, that shows a long self-healing process, if I do not want my childhood schemes to shape my life for me. This, perhaps, was the first step in a life-long therapy. The I-Relations series is a continuation of this. Continuing a journey, a therapeutic process that, after having identified the problem, is about working with the problem. In my series, I want to show what I have to do and what I can do for myself or what can anyone do in a similar situation to me who tries to become self-confident not only in the body, but also in spirit and who is happy to be mentally independent of her parents. Keeping the boundaries against another man, loving and accepting oneself, refusing bad schemes (which is perhaps the most difficult, as we may feel that we deny our parents), self-control, leaving our comfort zone, and awareness are the processes by which we can move on towards a more complete life.


TECHNICS: GICLÉE PRINTS NUMBER OF PIECES: 5 SIZES: 19,6X27,5 INCHES 2017


COMPLEX I’ve always known that my father’s behavior or my not so ideal relationship with my father shapes my love-bound relationships. During my research, I got the biggest “trap” of my father’s behavior (drinking and aggression) that I would be attracted to alcoholic and aggressive men as adults to relive my childhood in my relationships. According to the literature I would have to repeat this scheme and then fight it with long and hard therapy. Now as a young woman, I can say with some experience that I do not look for the possibilities of resurrection of this motif; instead, I simply change to a child with men, and the love I am approaching them with is not the love of an adult woman but the enthusiasm of this teen girl. I do not repeat what happened, I’m just looking for my dad and looking for the type of fatherly love I did not get from him. I’m looking for recognition from men of my father’s age,I am attracted to prestigious people and always trying to do everything for their praiseworthy words while I’m sexually attached to them. Age difference, both generational differences and my childhood all contribute to the death of these relationships. Looking back and looking at them, it’s terrible to see that I’m looking for the traps in which I jump again and again.


TECHNICS: GICLÉE PRINTS NUMBER OF PIECES: 14 SIZES: 11,8x20 INCHES 2016


PREGNANCY MACHINE Our objects, our inventions support us in the future. We are expanding our technical tools to extend our capabilities to free ourselves from work. But are we able to keep a balance? Can not our machines slowly replace us? Do not we become increasingly unnecessary with our ever-evolving technologies? Can any human ability be replaced by machines? Do we know what to do with our time and energy? Will we find goals instead of our work transferred to machines? With my fictitious machines, I would like to show you the fear that we may, through the self-outsourced capabilities of our machines, develop ourselves backwards, become frustrated and depressed by the lack of real human presence.


TECHNICS: GICLÉE PRINT NUMBER OF PIECES: 5 SIZES: 11,8X15,7 INCHES 2017


EX FUTURA

In the mathematical formula of the humankind the unknown number is the human itself. This fact makes us to try to describe ourself again and again because human being is endless questioning and doubting. In my photo seria I created ‘tarot cards’ to predict the future. On my images the archetipes of the future like ‘the infant’ ‘the vulnerable’  and ‘the anxious’ are visible. These sense based caracters comes from my empiric feelings of being today’s youth. The youth wich grown up in the illusion of endless opportunities and in a permanent war with itself. This generation denies all the old religions, but always looks for new spiritual connections. The new God is nameless and faceless like we are in this global individualist era. The new identity is not based on the harmony of body and soul duo but the the trio of body, soul and the virtual persona. I think if I would like to predict the future, at first I have to try to describe the generation wich will make the big decissions in the future. In this photo seria I tried to summarize the everyday emotions of my generation.


TECHNICS: GICLÉE PRINT NUMBER OF PIECES: 7 SIZES: 19,6X27,5 INCHES 2017


PROUD HUNGARIANS! In Hungary, the period before the 2018 parliamentary elections showed very clearly what the Hungarian people was really like: proud of its tragedies and fears. Hungary is still determined by the legacy of the proletarian dictatorship, and unfortunately the change of regime is not a fresh professional upbeat, but rather a creative destructive attitude brought to society. In my series, inspired by political posters, I use the help of a white “poster� and a female body to outline the characteristics and character of postSoviet Hungary. The character in which the opposite of everything is true as well, where there are no arguments, only the accusation of the other lying and the one which sees conspiracy in everything.


TECHNICS: GICLÉE PRINTS NUMBER OF PIECES: 12 SIZES: 11,8x20 INCHES 2018


Oxana Sztrehalet Portfolio  

Portfolio

Oxana Sztrehalet Portfolio  

Portfolio

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