The only way for output to find newness is for our input to broaden in perspective.

Featuring Krisztiàn Èder Words by Nastasia Khmelnitski

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Exploring the delicate line between the narrative in documentary photography and the cinematography in fashion visuals, Krisztiàn Èder offers his viewer to observe the story and the experiences of his subject. In the longing to find inclusivity and authenticity the mundane comes to the front in surprisingly novel stylistics. Krisztiàn explains, “The approach of documentary work has the intention to feel candid and unedited, and in this sense, it might aid in deflating the male gaze.” In his latest zine, April Breeze, a limited edition of 22 photographs taken in the artist’s bedroom, Krisztiàn researches the familiar through the beauty of a personal connection and an inspiration of the morning warm sun lighting the bedroom.

Krisztiàn Èder is a documentary and fashion photographer and director born in Hungary. He started his career as a musician and has recorded several successful LP records, however after graduating with a BA in Photography from the Moholy-Nagy University of Art and Design in Budapest, he decided to shift the course. At a certain point, Krisztiàn moved to NY to expand his knowledge and skills and pursue further opportunities in the sphere.

We touch with Krisztiàn the topic of his childhood memories growing up in Hungary. Then, we move to discuss his relocation to the US, later focusing on the place music has in his current work. We reflect on the male gaze and the transformation it experiences in recent years and Krisztiàn’s approach to the subject in the photograph.

‘In the '90s & '00s, it was simply less complicated. You went to a magazine store or library to find inspiration or references. After you looked at the books/magazines, pretty much that was it.’

I Am

What was your childhood like? 

I spent a lot of time with my grandparents: playing chess, going fishing, walking in the forest. I was never alone. I always tried to make friends and do things that included some human interaction. Although our parents disciplined us, we still had freedom and privacy to explore. I spent most of my afternoons in the skatepark with older kids, and my parents had to trust in the 4-5 hours when they had no idea if I was smoking weed with them or just practicing (I wasn't smoking weed that time). I think this experience helped my generation to be more able to stand on their feet.

What do you think those born in the late '90s or '00s will find hard to understand or never experienced when compared to people born in the late '80s? 

Another point as a visual artist — or any artist for that matter — in the '90s & '00s, it was simply less complicated. You went to a magazine store or library to find inspiration or references. After you looked at the books/magazines, pretty much that was it. You were on your own with your imagination. Having constant visual references at your disposal and receiving immediate feedback on your work makes it difficult to remain authentic and fuels your ego.

‘Letting go of comfort and stability was indispensable for this realization. I found it effective to clear the slate and experiment with new places, people, and environments.’

New York

You've been born in Sopron, Hungary, and studied B.A. in Photography at the Moholy-Nagy University of Art & Design in Budapest. Tell about your decision to move to New York. Why did you choose this city, and how did it accept you (from the perspective of the art scene and personal experience)?  

At the time I first visited New York, I was a successful commercial photographer in Budapest. The first few days in the city unveiled how far I had been from my potential and the plethora of lessons waiting for me there. A year later, I sold everything I had and moved. Although everyone seemed open to my work, I had soon realized it would take me a long time to step up to the level I envisioned for myself. The people were welcoming and optimistic, which was refreshing for me.

‘Music still plays a significant role in my process. However, it no longer involves performing.’

Finding One’s Voice

In one of the descriptions in your Instagram account, you speak about the moment of finding one’s stylistics and direction, “Well, It took me over a decade and a complete reset to realize that I don’t need to be anyone else. I have to be at peace with my work, honest with myself, and trust my creative process.” What do you think were some of the developments in your career, which led you to this realization? 

Well, letting go of comfort and stability was indispensable for this realization. I found it effective to clear the slate and experiment with new places, people, and environments. Secondly, it was finding a more thoughtful relationship with my ego. I was very confident in my work and myself before moving (which is necessary for leaving your home behind). In hindsight, I can see how losing and rebuilding that confidence on a self-fulling ground was essential for getting to where I am now.

‘When we finally cease drawing inspiration from the past and discover the abundance of original ideas today with all women, the change in opening new ways for presentation will be delightfully irreversible.’

Music

Before you started to photograph, you had a music career, and you have successfully released several studio albums. How did this significant shift in perspective and choice of path come into your life?  

The shift occurred naturally. Music and visual arts have coexisted in my life since age 16. By the time I was finishing my photography studies, I felt a lack of inspiration and motivation for music. Working in the mainstream pop industry is a pretty dangerous place when you are young. I found myself in a vicious cycle, feeling burnt out, and at a loss of words with my lyrics. I felt more driven by my photography and chose to give it my undivided attention.

To what extent is music a part of your creative processes today? 

Music still plays a significant role in my process. However, it no longer involves performing. Instead, it is more about meditation and boundless expression. It has become a tool that helps me get rid of egoic thoughts and helps set me in flow with my work.

Male Gaze

On the merge between fashion and documentary, women in your work are presented as sensitive, self-confident, contemplative. The discourse today about the gaze in photography raises questions and drives towards inclusivity and diversity. How do you think awareness on this topic can change the output or open new ways of presentation? 

Merging fashion and documentary could inevitably help an inclusive shoot because the idea is to capture everyday situations. The approach of documentary work has the intention to feel candid and unedited, and in this sense, it might aid in deflating the male gaze. More importantly, however, I believe awareness does not suffice on the topic of diversity. When we continue pulling references from a strictly segregated period, our execution will remain untouched despite how aware we may be. When we finally cease drawing inspiration from the past and discover the abundance of original ideas today with all women, the change in opening new ways for presentation will be delightfully irreversible. The only way for output to find newness is for our input to broaden in perspective.

‘I love photography for its magical essence of lending room to the viewer for interpretation.’

Motion

Film direction is an additional important part of your creative processes, in which, in my opinion, you develop even further the themes of the representation of the ‘ordinary’ person and the mundane through distinct visual illustration, developing your own genre. How does film allow you to show your other sides when compared to photography? 

Sound and music are a strong influence. I enjoy working with motion because I believe in stimulating all senses with art. I love photography for its magical essence of lending room to the viewer for interpretation. Conversely, one of the reasons I love working in film is for control over the narrative in which the viewer digests.

Next Steps

What project are you working on or planning as the next one?

I am currently involved in an international masterclass where each participant carries on a personal project while mentored by Jason Fulford. I am eager for this experience and working with Jason, who is someone I greatly admire. His varied approaches have helped me realize the multitude of factors in this body of work. I started shooting the images in 2014 for the current project. The work surrounds my hometown and my family. It is currently in the editing phase, and I’m planning to be releasing it in a book format around the middle of next year.

Another project I’m focusing on right now is a show of a new body of work. More to come, but I’m not a fan of talking much about projects before releasing them. :)