The trilogy Time Collapsing | Lines Blurring |Truth Dawning resembles a dream sequence. Elements of perception are condensed, pictures emerge and dissolve at the same time. The photographs confront the viewer as they create a moment of new, untouched sensations and emotions.
Urban and rural areas, time and place collapse, melt away in the eye of the beholder. Traces of the “real” blend, dreamlike visions delude - and yet the photographs show glimpses of reality.

In the first chapter Time Collapsing various points in time collapse within each single negative and evolve into a new pictorial word – some of them smooth and gentle, others seething and tempestuous. Heterogenic photographic fragments create new surprising contexts – dream worlds burst into existence.

Within Lines Blurring not only time but also place is ripped from its moorings. The single exposures of each multiple exposure take place in different cities / countries. Miles apart their realities are united within a small negative. The photographs oscillate between being visible on the surface and fading
away into abstract space - real, yet unreal; familiar, yet unfamiliar; lived, yet dreamed.

Within the third chapter, Truth Dawning, reality is drenched in unreal colours. Day and night collide forming a symphony of shape and pattern. Reality gets lost in the dialogue between colour and aesthetics.

The technique of multiple exposures on analogue film builds the binding formal element of the trilogy. It creates a certain transparency of objects – the processually condensed perception suddenly impregnates its object. The photographs make us see what lies beyond our time-bound perception
and yet doesn’t hold less reality.