Still Life represents a unique, quiet form of storytelling.
Arrangements of various objects, from flowers, fruits, and fragments of what was alive in the past to microprocessors or any mechanical parts of machinery—anything your mind finds interesting—can be the main character of the story.
The complexity of your imagination will guide you.
Lifeless aesthetics are attractive.
The photographic medium can conserve and collect. You can observe the complexity of the everyday and banal, often in unreal interactions. The curious mind will find layers of meaning and significance exploring those images. Cryptically chosen and arranged objects, removed from their everyday context, will challenge and provoke the viewer's ability to open different dimensions in the interpretation of their perception.
I am interested in objects as pieces of reality captured on camera. I see things in different small forms that I can comprehend through my observation, imagining the surface texture, the smell, and the light revealing the shape. As a starting point in this game, let’s assume it’s all there even when we are not looking.
My approach to photography is deeply introspective, influenced by my background and a desire to explore the seemingly ordinary in profound ways.
I would describe my camera as a "sketchbook," a tool for practicing intuition and expressing my emotions and senses. I invite viewers to appreciate the overlooked details of everyday life.
My photographic technique is characterized by meticulous composition and the use of natural or soft ambient lighting, which emphasizes texture and color without harsh shadows. I love highlight vibrant colors against dark backgrounds and create a dramatic and quiet intimate atmosphere.I use a minimal number of lights, sometimes just a single light source from the window, to enhance the natural contrast and bring attention to the subtle details of the subjects on the table.
My photographs are deeply symbolic, exploring the relationship between objects and human experiences. They are abstract symbols that narrate stories of existence and emotion, ordinary items as a reflection of deeper universal truths.I look at the objects and their inherent meaning, focusing on the presence and absence, the seen and the unseen with focus on perception and the lived experience. By highlighting the silent narratives, I aim to evoke a sense of introspection and ask viewers to reflect on their own unique perception.
Arrangement as a process.
Arranging objects for a photograph can be seen as both a reflection and a divergence from the process of understanding or interpreting life.
Just as in life, where intuitive feelings often guide decisions and perspectives, arranging objects in still life photography involves an intuitive sense of balance, harmony, and meaning. The choice of objects and their placement is driven by an inner sense of what feels right or what tells a compelling story.
In both photography and life, there's a focus on the deeper meanings and stories behind objects and my own experiences. Each item in a still life will symbolize events and relationships hold significant personal.The emotional connection to the object in a photograph or experiences in life involve a deep engagement with feelings, values, and personal significance.
Unlike life, which is full of unpredictability and spontaneous occurrences, choosing and arranging objects for a photograph gives me complete control over the environment.
This control enables me to craft a scene, the power not always available in real life.
The static nature of a photograph contrasts with the fluidity of living experiences, dynamic and ever-changing constant movement and evolution.
I love to play with the moment in time, freezing objects in a static arrangement.
I always wonder how the viewer will perceive and interpret the scene I offer. Understanding life is an internal process, uniquely shaped by personal experiences, emotions, and reflections.
My approach to still life photography is deeply intuitive. I don't begin with a story in mind or a predefined concept. I allow the forms and textures of the objects I encounter to guide my compositions. I find myself drawn to objects that are interesting to my mind.
It's not just the object itself that fascinates me but the way light interacts with the surface. I don't think about the narrative while arranging these items; instead, I focus on what visually excites me.
Ultimately, I believe that the story belongs to the viewer. Each person brings their own experiences and emotions to the interpretation of the image. My role is to present the objects in a way that is visually compelling and open to interpretation.
Sections
Still Life represents a unique, quiet form of storytelling.
Arrangements of various objects, from flowers, fruits, and fragments of what was alive in the past to microprocessors or any mechanical parts of machinery—anything your mind finds interesting—can be the main character of the story.
The complexity of your imagination will guide you.
Lifeless aesthetics are attractive.
The photographic medium can conserve and collect. You can observe the complexity of the everyday and banal, often in unreal interactions. The curious mind will find layers of meaning and significance exploring those images. Cryptically chosen and arranged objects, removed from their everyday context, will challenge and provoke the viewer's ability to open different dimensions in the interpretation of their perception.
I am interested in objects as pieces of reality captured on camera. I see things in different small forms that I can comprehend through my observation, imagining the surface texture, the smell, and the light revealing the shape. As a starting point in this game, let’s assume it’s all there even when we are not looking.
My approach to photography is deeply introspective, influenced by my background and a desire to explore the seemingly ordinary in profound ways.
I would describe my camera as a "sketchbook," a tool for practicing intuition and expressing my emotions and senses. I invite viewers to appreciate the overlooked details of everyday life.
My photographic technique is characterized by meticulous composition and the use of natural or soft ambient lighting, which emphasizes texture and color without harsh shadows. I love highlight vibrant colors against dark backgrounds and create a dramatic and quiet intimate atmosphere.I use a minimal number of lights, sometimes just a single light source from the window, to enhance the natural contrast and bring attention to the subtle details of the subjects on the table.
My photographs are deeply symbolic, exploring the relationship between objects and human experiences. They are abstract symbols that narrate stories of existence and emotion, ordinary items as a reflection of deeper universal truths.I look at the objects and their inherent meaning, focusing on the presence and absence, the seen and the unseen with focus on perception and the lived experience. By highlighting the silent narratives, I aim to evoke a sense of introspection and ask viewers to reflect on their own unique perception.
Arrangement as a process.
Arranging objects for a photograph can be seen as both a reflection and a divergence from the process of understanding or interpreting life.
Just as in life, where intuitive feelings often guide decisions and perspectives, arranging objects in still life photography involves an intuitive sense of balance, harmony, and meaning. The choice of objects and their placement is driven by an inner sense of what feels right or what tells a compelling story.
In both photography and life, there's a focus on the deeper meanings and stories behind objects and my own experiences. Each item in a still life will symbolize events and relationships hold significant personal.The emotional connection to the object in a photograph or experiences in life involve a deep engagement with feelings, values, and personal significance.
Unlike life, which is full of unpredictability and spontaneous occurrences, choosing and arranging objects for a photograph gives me complete control over the environment.
This control enables me to craft a scene, the power not always available in real life.
The static nature of a photograph contrasts with the fluidity of living experiences, dynamic and ever-changing constant movement and evolution.
I love to play with the moment in time, freezing objects in a static arrangement.
I always wonder how the viewer will perceive and interpret the scene I offer. Understanding life is an internal process, uniquely shaped by personal experiences, emotions, and reflections.
My approach to still life photography is deeply intuitive. I don't begin with a story in mind or a predefined concept. I allow the forms and textures of the objects I encounter to guide my compositions. I find myself drawn to objects that are interesting to my mind.
It's not just the object itself that fascinates me but the way light interacts with the surface. I don't think about the narrative while arranging these items; instead, I focus on what visually excites me.
Ultimately, I believe that the story belongs to the viewer. Each person brings their own experiences and emotions to the interpretation of the image. My role is to present the objects in a way that is visually compelling and open to interpretation.
Sections