Ficzek explores the same ideas using a wide variety of media, and by combining different techniques, his works expand the usual boundaries of genre, always moving beyond them, always operating around the borderlines, not only in a technical sense, but also spiritually. Even in their sometimes blurred and obscure state, his photographs are works of art, because they capture by their very existence the thought that led to their creation. He is the creator of a very specific autonomous intellectual product, where the aesthetic quality elevates content to the medium of art. His photographs have resulted in graphics, paintings on canvas, and canvas reliefs, objects or sculptures that break out of the plane. As an essence of Ferenc Ficzek’s wide-ranging creative activity, and as a summation of it, the short animation film Exits Left Behind was created.

As a professional filmmaker, Ficzek was not captivated by the novelty of movement, as so many believe about visual artists who try their hand at filmmaking, but, like most of his peers, he was lured to film by the particular possibilities of concentration. The composition of the specific substance, the increased possibilities of choice.

This cross-fertilisation came about precisely because he was primarily a manic and not a medium-centred creator. The same ideas, developed in increasing depth, led him to new tools and means rather than new problems. It’s another matter that the subsequent manias already carried in them the experiences of these encounters.

The illumination of objects from multiple light sources, the catching of shadows on a sheet, the combined appearance of the object and the shadow represented a unique translucent light-plastic innovation. The variability of the result is then only increased by the fact that you can view these from different angles, and use the corrective power of the eye.

The light circled around the object in front of it, but its dimensions, revealed in motion, are transitory, continuous and intangible. By projecting light, he could capture these transitional dimensions, superimpose them and connect these seemingly impossible light profiles or shadow profiles with imagination.

All the mystical and often incomprehensible light-intersections of the object are derived from the object and the means of illumination, which thus suggest a pre-constructed situation of some kind. The plastic reality, the light-and-shadow reality of projection on transparent plates, helped him to observe and describe an infinite range of unknown visual effects, opening up an infinite possibility of shaping.