CIRCLES

Are there things we still don't understand? I want to look at this question in a simple way, avoiding complicated explanations. I will concentrate on showing how I think. I imagine this question as an abstract landscape reflecting complex concepts. However, if we simplify it too much, we can distort reality, create misunderstandings and break our relationship with the world. So let's leave on the surface the perspective of the existence of phenomena that we do not yet understand and that go beyond our current theories. Acceptance is an ongoing process that shapes our sensibilities and helps us to understand the world better. Such an approach can lead us to a deeper reflection on reality and our place in it, and to accept that knowledge of the world is constantly evolving.

We often cross the boundaries of the traditional understanding of everyday life, which invites us to actively participate, the process of creating reflections and experimenting with forms of sensitivity. This approach addresses the complexity of the world and what it really means to "see". I understand that this is difficult to convey in verbal language. However, such difficulties reveal the most fascinating aspects of language, because it stimulates the imagination and invites dialogue.

In my work I use composite photography, a fascinating but often forgotten technique in the history of photography. It consists of creating images from many layers, which can become a starting point for discussions about identity, questioning its uniqueness and showing its fluidity. I am not surprised that this technique is controversial because its creator, Francis Galton, used it for eugenic practice, the study of social groups. His work was part of a wider trend in 19th century scientific thought. He was looking for the biological basis of racial differences. I find this approach invasive and unethical because it dehumanizes people, reducing them to a set of physical characteristics. As an artist, I am aware of the responsibility that comes with using this method of representation. Therefore, I try to look at this technique from a different perspective. By deconstructing the image and creating new forms, composite photography becomes a tool for critical analysis of the reality that surrounds us. It allows us to discover new layers of meaning and to transcend the boundaries of traditional representation.

To argue against the myth of the modern imagination, let's consider whether the only thing that is real is what we can see with the naked eye, or perhaps our beliefs, our stereotypes, are also real? Reality is dynamic, and reality is not uniform. It is constantly changing depending on how we interpret it and which of its elements we interact with. This is why each person's world, although based on the same material reality, appears slightly different in their minds.

Imagination is subjective, but the fact is that images, sounds, smells and other sensations associated with what we imagine appear in our minds. This process allows us to look deep into the world and create a space in which we can see our own process. It knows no boundaries. Let's appreciate its diversity because it is the power that allows us to bring something unique to the world. As a result, imagination transcends the limitations of time and space.

Often I feel that there are too many thoughts and it's difficult to keep track of them all, especially when I start to write and develop a complex concept related to the theme of loss. My thinking is an attempt to go beyond the beaten path, to recall other ways of knowing and to invite a diversity of experience. Such an expansion of boundaries has inspired me to experiment with multilayeredness.

Through visual experimentation, I do not seek to imitate the external world, but rather to facilitate a deeper connection with it. My artistic practice, like a reflection on loss, is an attempt to go beyond the known and enter a realm where forms and figurations lose their meaning. Giving up realistic images is an act of accepting that we do not have to understand everything. Similarly, reflecting on lack creates a space where experience becomes fluid and subjective. The viewer is no longer an observer but an active participant in the creative process.

It's not a matter of understanding it completely, but of opening oneself up to a process of constant discovery. Any attempt to blur the representation can provoke the emergence of new forms of understanding, that which is elusive and indescribable, that which goes beyond words, leading to new reflections. Thanks to our ability to create meaning, composite images gain cognitive depth, revealing to us what is unconscious. Such images become a starting point for conversations about identity, which is an important aspect of existence. The process of identity development evolves with the changing context of life, changing the way we perceive the world, others and ourselves.

Breaking away from the illusion of the form of reality is inevitable. The art I create unmasks it. To show that all forms in photography are a construction and not a faithful reflection of the world. In my artistic practice, I am constantly searching for the element of wildness of form that reveals aspects of the relationship between human and reality. The world lives in a kind of detachment from reality.