Making story-boards is one phase of film-making which we use as an
independent medium. There are historic precedents to this as well; the desire for story telling is exemplified by Trajan’s Column, the Bayeux
tapestry or even Soviet rosta.
We tell stories without a gigantic budget; moreover, these hand drawn images influence the audience more directly than movies. Still they are unlike cartoons: we make drawings which are independent and original. The drawings are formed together with the story.
It is also important that they are presented in space and the series has a certain rhythm, making one entity out of the different parts. Drawings are dominant compared to the texts and sentences say only the most
important things or may even gain a new meaning when confronted with the image. The plots are succinct, there is no room for extraneous chatting and everything needs to be condensed into no more than 30 images.
We came up with the stories together and shared various parts of the working process, thus the final work displays traces of both our styles.
Ágnes Szépfalvi and Csaba Nemes, ”Short Stories”, catalogue, 2001


Ágnes Szépfalvi (1965, Budapest). Csaba Nemes (1966, Kisvárda, Hungary)

Selected storyboards: 2003: Promenade, Centre Arc en Ciel, Liévin, France; Passage, M.A.C., Sallaumines, France; 2001: Extra-Temporal, Casino 2001, S.M.A.K., Gent; La Main Dans Les Nuages, Musée d'Art Moderne Lille Métropole Villeneuve D'Ascq; L'ame Est Un Marcheur, "Tu connais?", Glassbox, Paris; 2000: The House Of Light , Project Room Ludwig Museum, Budapest; Carpe Diem, Trafo, Budapest; Career, Cross-talks, Mûcsarnok, Budapest.