The objective of KissPál’s videocamera has a maximum picture angle of 40 degrees. This means that the rest of the world, the remaining 320 degrees are always out of sight. When he hits the red button, he usually stays in this invisible part of the world. In spite of this, his concern is to make visible this hidden view by transforming the surface that splits the world in two into a semi-transparent mirror. This is the way he creates a projected image from a captured one, an installation from a recording, as the CCD, the interface between the to worlds becomes sensitive on each side, able to hold both the impressions of the visible and the non-visible. In western tradition there are many ways and attitudes to perform this transformation, from the radicality of the modern to the subversivity of the postmodern. All of them are direct methods in opposition to the indirect inductivity applied for instance by the Zen.
Through his efforts to widen the view towards a total picture angle, he tries and achieves an inductive gestuality that captures the existence behind the camera, including the person with his fingers on the red button, and that other person watching the act of recording, thus offering the viewer a simultaneous perception of the framed view that has been recorded and the world behind.
— Maria Marcos