This story is about those of us with whom life just happens. It takes place when the connection between cause and consequence is no longer coherent. I am documenting a naïve visual subculture of a public space, which has become widely spread throughout Ukraine after a fall of the Soviet Union faced globalization.
Four months in Kyrgyzstan, portraying this country on the outskirts of global headlines with a large format camera, through faces and landscapes. This work highlights the generational disparities between those nostalgic of an abolished USSR order and modern westernized youths born after the fall.
In this series I have concerned myself with the way that history and memory are perceived through images.
I explore a way of creating content around the photos through their physical presence as objects, connecting them with natural elements, thus highlighting their temporality. These flowers and petals mark the present, but at the same time they are a very powerful vanitas symbol. Black-and-white photographs ‘mean’ a different era; they are a visual analogy of the idea of memory slipping away with time. The concept of this work is fragility and disappearance.
Secluded in the West Siberian plain lies Aidara. The village is only reachable by the river Ket, the passage requires attention and experience as fallen trees are often creating obstacles under the water surface. The next bigger settlement lies around three hours down the river. The village of 150 inhabitants is mainly consisting of a community of Russian Orthodox Old Believers who live by the strict rules of their religion.
‘Tales of Lipstick and Virtue’ deals with the crossroads of gender, class, ethnicity and their interconnection to self representation as well as post-colonialism, authenticity and pseudo luxury.
The work consists of portraits in Albania and figurative fake-stills of brand imitations and counterfeit luxury out of the studio. Using methods of documentary, fashion and advertising photography, it is blurring the thin line between original and bootleg, truth and fiction, genuine and counterfeit.
In Silesian dialect “kajnikaj” means “here and there”. This is a good description for my town in the southern edge of Poland, a place where nothing interesting happens. People are busy working hard as coal miners or drinking even harder while out of work.
“J.B. about men floating in the air” was inspired by the story of two Lithuanian-American pilots who tried to set a new world record by flying over the Atlantic into Eastern Europe in the early 1930s. I found a reference to the attempt in a Joseph Brodsky poem and decided to create my own ‘parallel world’ in black-and-white images.
If you imagine a modern city such as Moscow in the space-time base, it is easy to see that the manifestation of the creative will fades as it growths from the center to the outskirts as if it is ruthlessly washed out from the urban environment by the centrifugal force. New types of typical apartment building areas which arising massively at the boundaries of the city are often deprived of any super ideas and their design is based on maximum utility. Watching everyday life of these spaces I snatch significant pieces and disparate parts from the present reality so to add them together and get a picture of an imaginary future.
There is a place where no one is born and no one dies. Of course you can die anywhere but you cannot be buried here as it has been discovered that bodies fail to decompose here. You cannot be born here because pregnant women are to return to the mainland to give birth. There are no cats, no trees, no traffic lights. There is no amusement park, but there is a circus troupe. In the winter time it is completely dark, but in the summer sun never sets. The place is called Longyearbyen and it is the largest settlement and an administrative center of Svalbard. It is also the world’s northernmost city. Although it is difiicult to regard it the best place to live, many people fall in love with it at first sight. Some people came here just for two weeks and stayed for five years or more, but not many decide to settle down here permanently. Sometimes you have an impresssion that people here are trying to escape from something; that this is just a retreat. This is not a real life.
I done all photos in Japan, but it is not a story about this country. Although I have used its traditions and religion. And the fact, that for me, it was a completely unknown territory. The main motive is the Shinto, japan mythology (yokai) and way of thinking about the sacred. But Shinto is another cover, artificial dictionary which allowed me to understand what I say. It is in the Japanese relationship to nature, something to give me hope, the conviction that we are part of nature, that we not strayed too far.