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solace before returning to a grim reality of exploitation. Nowadays, the cottage is the welcoming ground for family union in their enjoyment of a less polluted, less oppressive environment. Inevitable, Honkys perceives a degree of melancholy in contrasting the cottage’s current status as an extension of prosperity and communion with nature, with the harsh reality behind its origin.
Finally, it is relevant to observe that whether melancholic or ironic Michal Honkys’ photographic documents are rarely devoid of a healthy amount of humour. His images are highly descriptive, flowing like a series of visual adjectives which qualify a fascinating narrative.They are never forceful statements but intelligent suggestions. Hence Honkys cannot be

said to either condemn or applaud with his photographs, but can be said to insinuate what he needs to express in a sensuous, articulate manner. The always meticulous compositions and the eloquent juxtapositions of his images account for Honkys’ thoughtful approach to documentary photography. While his style is undeniably idiosyncratic and his subject is unquestionably European, “Ostrava” is positively reminiscent of large format American documentary photography in its patent artistic quality.