LIVELY LADY, 2025

My series was created on the island of Lanzarote, where through portraits of tourists I aim to express my inner desire for freedom. My subjects are individuals from varying cultural backgrounds with whom I had extended conversations and interactions, based on which I responded through symbolic elements. In my work I am interested in how different people define freedom and how this is reflected in their individual stories and experiences.

EXIT (2020–2023) is one of my earliest and most formative projects, focusing on the experience of becoming a mother during my teenage years. The series is deeply personal, exploring questions of self-definition and family identity.
Through this work, I attempt to honestly reflect on how relationships shift when someone is simultaneously becoming a young adult and a parent, while still searching for their own sense of self. The project is rooted in my own lived experience and serves as a way to better understand how our roles and identities are reshaped during moments of significant life transition.

Looking back at this period feels especially meaningful today, as my children are now entering their early teenage years.

The project culminated in a photobook, which has been presented at international platforms such as Polycopies (Paris) and Unseen Amsterdam Photography Fair.

RADIX

Izabella Deli and people of 10th street
(2020)

I have been living in Rákosliget, the 17th district of Budapest, since December 2014. My father inherited many things from several sides, as the women in our family had no children, only my grandmother has one child, my father. So when unexpectedly I got pregnant at the age of 19, with a cryptic grin he offered me to live in Aunt Iluska’s home at Rákosliget, saying: “well, let’s start life here”.

A strange little deli operates in Aunt Iluska’s house, which is part of the building, but not completely. The shop has been running with unchanged clientele for about 50 years or the change was negligible. Needless to say, when I moved in, they gave me the looks and weren’t pleased at all having to cope with the landlord's spoiled daughter, who has a baby now and will keep a constant eye on them. I was completely isolated for many years. I kept a fair distance, somehow taking on the role they had given me.
Meanwhile, from my bathroom window I hear every day what music they listen to, how they sing, what the daily rumors are and which short drink is their favourite. I’m just sitting on the toilet, I’m not present.

BUT DO YOU LIKE ME? (2023–2026) is a long-term photographic project exploring the transitional spaces of contemporary adolescence — a period in which identity is still in formation and personal experience constantly negotiates with the expectations of the outside world.

The series approaches Generation Z and Alpha through personal connection and attentive presence. Rather than explaining or defining its subjects, the work focuses on moments of vulnerability, intimacy, and emotional tension that shape the experience of growing up. Family dynamics, social relationships, and inherited behavioral patterns appear as subtle but recurring undercurrents throughout the images.

The project began with a return to my former high school, revisiting the spaces of my own adolescence through photography. As a young mother, I am also drawn to the question of how memories, emotional structures, and unresolved generational patterns continue to repeat and transform across generations.

The car appears as a recurring motif throughout the series — a temporary shelter and transitional space where the boundaries between public and private begin to dissolve, allowing more intimate layers of identity to emerge.

For me, BUT DO YOU LIKE ME? is not simply a form of documentation, but an evolving space of trust built through long-term relationships. The series does not offer a closed narrative; instead, it creates open situations in which viewers may encounter their own memories, insecurities, and experiences through the images.