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“Melancholy is not a trick or an effect of aestheticism, it touches upon the chaos and uncontrollable desperation in seeing the inconsistencies of a life that offers nothing but repeated struggle. Up the mountain the hopes and songs are high, the dreams are alive and eternity within, on the other side of the mountain the rock rolls unstoppable and indifferent back to a coincidental square one. I cry and cry because the glimpse into this empty essence, is what life is spent covering up.” (Reactions to the film ’A Short Film about Killing’ by Krysztof Kieslowski, Edinburgh March 2006)
My practice is informed by my gradual introduction to and trying contemplation of the medium of photography and how I experience its manifestations to reflect cultural understandings of reality. From a fascination with the geographical treasure hunting, conventionally connected with documentary photography, I find myself in my present project, increasingly being informed by a personal reflection on cultural and social intimacies.
The other part of my practice is writing. With the intention of supplementing the visual imagery with a medium that invokes a different contextually. I aim to resolve the tension between mediums to create wholes, that are balanced by an impermanence.
My present project ’Doppelganger’ deals with the experience of urban proximity, it seeks the frail and yet powerful imbalances that re-stimulate the desire and insistence of an immediacy in and around the social foras modern city life.
From an informed journey through nets of cultural, social and architectural institutions, as rural scenario in Scotland, Denmark and Poland my work for this exhibition reflect a process of creation through surprise and finds.
Through the short text pieces I aim to build emotional and concrete images, and by this link a diversity of photographic styles and approaches.
An important influence on the work is an interest in identities as they appear on collective as individual levels. I am inspired by anthropological writing and seek a transfiguration of the scientific to the poetic. The frail balancing of being present in social surroundings is based on personal experience, on conversation, and on a investigative hermeneutic, curiosity of urban spaces and institutions.
I seek a conscious engagement with the medium of photography as a physical installational presentation, this involves on a critical level the technology of digital image processing. Changing basic conditions of image reproduction and storage is inevitably altering the phenomenology of the photograph as an object of fine art.
I seek an exploration of this change, in the sense of suggesting a use of the photographic representation, within a wider context of fictional writing, that can afford a subjective approach to create narratives and meanings.
’When a man rides a long time through wild regions he feels the desire for a city. Finally he comes to Isidora, a city where the buildings have spiral staircases encrusted with spiral seashells, where perfect telescopes and violins are made, where the foreigner hesitating between two women always encounters a third, where cockfights degenerate into bloody brawls among the bettors. He was thinking of all these things when he desired a city. Isidora, therefore, is the city of his dreams: with one difference. The dreamed-off city contained him as a young man; he arrives at Isidora at old age. In the square there is the wall where the old men sit and watch the young go by, he is seated in a row with them. Desires are already memories.ct’
(Calvino, Italo, ’Invisible Cities’ p.8)
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