In photograph I see a stage where the substance acquires meaning and identity uniquely that can express a notion or a feeling. In this dimension, people react to visual elements through their mental reservior of shapes and figures that have been gathered over the years, and exist in order to comprehend and feel what is seen. Our reaction to these figures is highly motivated by the colors and the association they bring with them. Therefore, a photograph, in its contents, colors and figuration, is the tuning of our `world of association` that functions from the first sight and throughout the time we look at a certain photo. as it varies from one person to another, there is still a collective memory that conducts us throughout receiving visual matters.
When I go about photography, I try to bring what there is inside of me in a way that the last formation calls for the observer's inner side. Each photograph leaves the observer with no much space but much hesitation and vagueness that carries him back to his world and not any other place. By giving him no chance but to take the scene and confront it in his mind and not in the photo's area, as no sufficient elements seem familiar enough to make it feels comfortable. It May be that the elements themselves are known by the observer, but as they come together, the whole scene turns to be out of understandable context. The photograph`s role is not to open any new world for the observer but to arouse what already exists and has been, probably, under sight.
I use the distance of the camera to express, approach and touch reality. Through the lens, I protect myself from the actual life and become an eye , as the click replaces the blink, I feel closer to the truth. Sometimes, we, humans, need to forget ourselves and become the medium that brings us either ways, inside or outside. The perspective of our life looses itself as we are occupied forming it without having the opportunity to overlook what we have already done. In the photographs I try to build this perspective starting with myself, where it allows me to see things more precisely, and it carries on to the observer in order to see what, he or she, can fetch in themselves.
In some of the photographs I use aspects taken from my life and combine them in their conceptual meaning.
We live in a world where at every moment there is a kind of struggle between two forces that is hard to decide which of them is good and which is bad. Each force has the power to mislead us and it seems to be the only power these forces have. In the photograph "good god bad dog" , where the white part is struggling with the black part, apparently we know which is which. The black has combined within it a bit of red, giving itself a sense of attraction that may appear seductive, and the white is pure and sincere. At a closer look we can see that the white section is the one moving towards the black that is very much static and calm. Furthermore, the white is as a result of burning the negative through prolonged exposure and the black side is the undamaged `healthy` side, so it is only a matter of a perspective.