Photography played a major role in distancing landscape imagery – used in paintings and graphic design – from realistic representation. In my works, I deprived the photographical landscape from this same traditional attitude.
In this series, I went against the concept which states that one can only take a photo of something that exists in reality. Therefore, I created landscapes which only evolved through utilizing the possibilities hidden in the raw material itself. My photos are a synthesis of non-existing landscapes, conventions of fine art and photographical landscape representation, as well as certain forms and elements of nature which exist in collective consciousness.
The photographs were created without time exposure, but by using a chemical technique on the instant films and occasionally interrupting this procedure. Through manual intervention, I examined the potentials of the material and observed the attributes of the fictitious landscapes. With simple mechanisms, I directed the development until obtaining chemigrams.
During the chemical treatment, the polaroids received a balanced, equal amount of light. As a result, not only did the photographs emerge due to the creating nature of light, but rather because of the interaction between the raw material and the artist. Reducing photography to such extent allows one to truly emphasize the creating process and the retroaction of the material itself. Due to the technical interpretation of the photos, the presence of the creator is dominant even though the final photos mirror intact nature retroaction of the material itself. Due to the technical interpretation of the photos the presence of the creator is dominant even though the final photos mirror intact nature.