ARTIST STATMENT
I am fascinated to analyse static and movement relationship. It comes from the time when I was practising contemporary dance and exploring shapes, forms and flows body(ies) can create. In my today’s practise I am analysing and experimenting with motion and stillness in a broader perspective. I am aware of the impossibility to be still, to stop fully or make our surrounding to do so. I am interested in a fragility of (passing) moments and one’s ability to notice them, that’s why photography is a media which allows me to picture and ‘frame’ moving into stillness. Or the other way around: make static objects move.
I have an ongoing project in which I photograph passing views through the car window. There, by turning moving landscapes into analogue photographs, I question the idea of moment as something static. Can a moment be understood as a unit? In my finished project “(Un)Ordinary” I made abstract, close-up pictures of daily objects and random details. The still-life photographs were visually moving, layered work. To achieve that I used mirrors, strange angles, double exposures and reflections. My goal was to catch the audiences’ attention, to make them think of stopping in their own ongoing routines and to notice. To notice details.
So, my practise is based around the idea of movements and stillness in time, objects, and bodies. It is experimental documentation of dailiness.
I am fascinated to analyse static and movement relationship. It comes from the time when I was practising contemporary dance and exploring shapes, forms and flows body(ies) can create. In my today’s practise I am analysing and experimenting with motion and stillness in a broader perspective. I am aware of the impossibility to be still, to stop fully or make our surrounding to do so. I am interested in a fragility of (passing) moments and one’s ability to notice them, that’s why photography is a media which allows me to picture and ‘frame’ moving into stillness. Or the other way around: make static objects move.
I have an ongoing project in which I photograph passing views through the car window. There, by turning moving landscapes into analogue photographs, I question the idea of moment as something static. Can a moment be understood as a unit? In my finished project “(Un)Ordinary” I made abstract, close-up pictures of daily objects and random details. The still-life photographs were visually moving, layered work. To achieve that I used mirrors, strange angles, double exposures and reflections. My goal was to catch the audiences’ attention, to make them think of stopping in their own ongoing routines and to notice. To notice details.
So, my practise is based around the idea of movements and stillness in time, objects, and bodies. It is experimental documentation of dailiness.