Judit Gyuricza-Osváth

The backdrop for the series is the artist’s childhood garden, understood as both a physical place and a symbolic shelter. It is an inner world to retreat into when the real world feels unpredictable and overwhelming. Imagination helps to cope with one’s circumstances and make them more bearable. 

The title The Clear Image of Paradise is taken from Peter Handke’s poem Songs of Childhood and refers to a contradiction within childhood memories: we long for an image that appears pure and is sharply defined yet know it is inevitably constructed and fragile. The work evokes an idealised inner landscape — a paradise that does not really exist, but is dreamlike, carefully composed from memory and longing. 

This analogue photo series was realised with handmade costumes, self-built constructions and subtle performative gestures. The Clear Image of Paradise shows how parallel worlds can emerge: through simple means, imagined roles, the reshaping of space, and inner strength. The analogue process, with its tangible and time-bound nature, reinforces the association with memory, and stands in contrast to the speed of contemporary digital image production.