Many would agree that reality is unknowable, therefore, non-photographable.
Photography within its technological frame captures some aspects of phenomena. When a photo is taken, its meaning, experienced through one’s qualia, begins to be hollowed out and here comes the observer’s task to reinvent the context.
Interpretive games that follow are part of the limitations associated with technological, historical and theoretical frames. The apparent reality, photography likes to provide us with, actually conceals the mechanisms that can make it understandable. Thus, the insistence on the type of realism which coincides with the inertia of our perceptual apparatus is always a way to mystification rather than demystification. Capturing a particular entity prevents us from conceiving many others.
The only reality known to myself to some extent is played in my head. As issues about photographable and non-photographable are still fascinating, I continue to make photographic records. As a visual artist I always ask what is the intention and inner motivation driving someone to make an action or complete a work and eventually label it as art. In the same way I am still asking myself whether I should shoot an image or just enjoy a moment. Consequently, some of the images taken are usually neglected moments of real life.
Photographs were taken in moments of reflection while travelling. Travel is usually time for liberation, reflecting, deep breath, openness, peaceful gratefulness, and intimist perceptions. Life is all what we have, hence we have to live in peace, joy and gratitude. This is an intimate documentary, a traveler’s notes released from burden of theoretical agenda, generally exempted from the symbolic meaning, direct associations to the spot of photography and avoiding portraitistic features. In this way the imagery selected might be universal and readable to almost all the people.
These images are an assemblage of fleeting, evanescent shadows, and are very close to memories and ‘pictures in mind’ coming from specific moments. Although images strike back, we can consciously choose whether to jaywalk across their reverberations.
