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O SERIJI

Scotoma - Spomini jutrišnjega dne

Fotografija je zame iluzija. Čeprav izhaja iz realnosti, obenem nastaja tudi iz moje fantazije. Fotoaparat tako postane tovarna sanj, fotografije pa intimni dnevniški zapisi mojih »potovanj«, pri katerih nisem niti zapustil svojega dvorišča. Na ta način pričujejo o moči fotografije, ki nas na nek način transportira. Z drugimi besedami, ne potujem, da bi fotografiral, ampak fotografiram, da potujem.Ko fotografiram vsakodnevno realnost, ki obkroža moj studio, fotografiram, ali celo projiciram, svoja hrepenenja. Podobe lovijo trenutke, v katerih se realnost in moj podzavestni svet stakneta. Potujem s pomočjo podob, ki se kopičijo v mojem spominu in domišljiji. Ko pogledam skozi kukalo, me odnese v daljne kraje, ki si jih želim obiskati, in pozabim, da še vedno stojim pred vrati svojega studia.»Resnico« - in s tem tudi resnico, ki jo govorijo fotografije – vedno pogojujejo kulturne norme. Pri ustvarjanju te serije sem uporabil dva konstrukta; prvi je, da je fotografija del realnosti, prikazan s pomočjo svetlobe, drugi pa, kako smo vajeni gledati naravo. Z dodajanjem imen realnih krajev k imenom fotografij postane iluzija, da je to, kar gledamo, zares nek oddaljen kraj, kredibilna.Serija Spomini jutrišnjega dne nam zastavlja vprašanje, če smo vizualno pismeni v dobi, v kateri fotografije predstavljajo večji del naše komunikacije. Je opomnik na to, kako preprosto nas je manipulirati, o tem, kako uničujemo planet in tem, kako bodo jutri mnogi kraji le še spomin, pa sploh ne bom izgubljal besed.Serija Spomini jutrišnjega dne je uvodni del poglobljenega notranjega potovanja, ki je svoj izraz našel v delu Scotoma.


ABOUT THE SERIES
Scotoma - Memories of tomorrow
To me, photography is a mirage. For although it is an emanation of reality, photography is at the same time consubstantial with my fantasy. Thus, the camera becomes a dream factory, and these photographs narrate an intimate diary of my "departures" without leaving my backyard. They demonstrate photography's power to “transport” us. In other words: “I don't travel to photograph. I photograph to travel.”As I photograph the everyday reality that surrounds my studio, I also photograph, or even project, my longings. Images capture moments when reality and my subconscious world collide. I travel with the help of images accumulated in my memory and imagination. When I look through the viewfinder, I am teleported to distant places that I long to visit, and I become completely oblivious of the fact that I'm still standing in front of my studio door.The “truth” - and also the truth conveyed by photography is always conditioned with cultural conventions. In the making of this series, I used two cultural constructs. The first is that photography is a piece of reality captured by light, and the second is how we are used to seeing nature. By adding names of real places to the photographs, the illusion that what we see are in fact distant places, becomes credible.In this way, Memories of Tomorrow asks the question if we are visually literate in an era when images make up the bulk of our communication. It is a reminder of how easily we can be manipulated through them. I will not waste my breath about the fact that we are destroying the planet, and that tomorrow many places can easily become just a memory.The Memories of Tomorrow series is an introductory part of a deeper inward journey that is expressed in the body of work entitled Scotoma.