Ágnes Eperjesi has taken a remarkable long journey from experimental photography to an absolutely unique venture of collecting wrappings of household products, taking the humble sign language of ordinary household chores and recreating them as objects of beauty and irony.

Since 1989 when the political system changed in Hungary, Eperjesi has been systematically collecting images and graphics printed on plastic, such as commercial packaging, plastic bags and wrappers. Her collection is not only relevant as an archive but also a cultural-historical record, for it embodies the stereotypes of the global visual language of the last decades. The collection works as a special image-bank.

These schematic pictures, pictograms, instructions on the transparent packing material serve as raw material for her art. They are used as film negatives. Placing these in the enlarger, Eperjesi generates scaled-up images, complementary colors and inverted tonal values. In this way the recycling of images takes place on a literal as well as a symbolic plane, and as a result a new aesthetic quality emerged.

As Arthur C. Danto writes of her work: "…in transfiguring the isotype into an art work, an interesting reversal of Walter Benjamin's famous distinction has taken place: the art of mechanical reproduction has acquired, through transfiguration, an aura….Eperjesi's aesthetic enhancement of workaday images is as distinctive as Andy Warhol's transformations of Polaroids into portraits."

The body of the exhibited works is called the Family Album. In this she tells a very personal story recycling the readymade images of packaging materials. Removed from their original context and arranged into series they assume new meaning and take on a new existence in the personal context and associations Eperjesi assigns them.