It is very simple, actually. Me and my bag of pictures are nothing more than the love I have felt, things I have been looking for, people I have met and the feeling of guilt. All those decisions that turn an individual into two separate beings, where imagination will always remain false, whereas reality is always untouchable. Actually, it is the mind, the world on three elephants. We all resort to it because we want to have memories and identify.
To create the playground from anything you have at the moment. Step, step, stop. And again.
Pictures are alive mainly because we are fading. To save your songs, there is not much time to analyze.
White Elephants is personal long going series, made from 2009 to 2012. It has been shown also in the form of slideshow as the story in three chapters. The most important was to concentrate on the single faces, gestures, pantomime of feelings and relations. The elements of representation are often degraded to shapes, soft lines and the work is merging many stylistics into one story. It is honest impact of emotions I have experience during my travels. The main point is the impression of experiences, that is necessary for me to take the pictures. Through the metaphors of portraits of the others, I photograph my private, intimate time and space. In White Elephants I’m making the questions about the changes that are visible in our reality being transform by emotions, personal issues. The series is making the doubt about becoming. Dissonance between memories and present as well as differences between real person, place and our imagination of it.
White Elephants is about the balance between inconsistent states and feelings. The original idea of the series was to explore the state dissonance between feelings by looking with a sense of disappearing and longing; that is the thing which, in my opinion, makes the images important to our culture, and life: Photography exists in the way that we know it mainly because we have to die.
Also, images are the rope that ties the fragmented past back together. I believe that memories are somewhat impossible to be imagine, but a picture can create a genuine physicality and real consciousness. On the other side, there are emotions and the unknown, and together, they change everything. It is not a simple tribute to the past, but rather a story about feelings out of time; the interior projected to the exterior.
Love has to be reinvented
Love Has to be Reinvented
When Venasque told me about diaries of Cocteau, I came across the fragment, which deeply affected me:
“And then I realized that the world of my dreams is equally full of memories as my real life, so it is the real being and also richer, deeper, full of episodes, and more precise in many details. It was difficult to properly locate memories in one or the other world. They were extraordinary, complicated, and have become my second life, twice bigger, and twice longer than my own “.
To love: it is the figure that is not related to declaration of love, to confession, but to non stopping scream of love
because you have this gun with cold water when I’m turning into someone unlike.
with or without is trivial difference. Is it not the way to communicate with friends?
I know your deepest secret fear. And you know my deepest secret fear,
deepest means love
secret means egoism
We still here, To look to the future going on direction of Sun .
If you look back it would be Shadow of you,
past is Shadow, future is Sun, present is You, All You, All We.
Basically, for me photography is a language. My photographs are not connected by the place and time, which are usually left in conjecture, but on the level of emotions. I imagine my work as stories about balance between inconsistent states and feelings. Photography is my way of communication, my language telling about me indirectly. I create the stories somewhere in between fantasy, imagination and reality. I present the images of life which is transformed by emotions and nostalgia.
I think that most of my photographs comes from my inner tension and attempt to break down the fear. For me photography is an intimate medium. It helps expressing yourself but after all, it allows you to be closer to life and people, to look straight into their eyes. It is very important to be close enough for two reasons: first, not to be scared and second, to really experience something, even if the relationship is impossible. For me photography is like interior projected to exterior. Taking pictures itself is an emotional experience; a way to forget and remember. A lot of events and experiences exist in us at the same time. They remain after a time and is it not clearly known why they come back at moments when we do not expect them; sometimes in our new experiences we can discover something that happened in the past. It is not easy to describe
The moon is shining in the nose, Bull has to libido and comes from Venus, the Sun is mixing with the moon and clean the toilet with the toothbrush.
BASICALLY, FOR ME PHOTOGRAPHY IS A LANGUAGE
My photographs are not connected to the place and time, which are usually left in conjecture, but on the level of emotions. I imagine my work as stories about balance between inconsistent states and feelings. Photography is my way of communication, my language telling about me indirectly. I create the stories somewhere in between fantasy, imagination and reality. I present the images of life which is transformed by emotions and nostalgia.
For me photography is like interior projected to exterior. Taking pictures itself is an emotional experience; a way to forget and remember. A lot of events and experiences exist in us at the same time. They remain after a time and is it not clearly known why they come back at moments when we do not expect them; sometimes in our new experiences we can discover something that happened in the past.
Piotr Zbierski (b. 1987) studied photography at National Film School. Author of three individual exhibitions (White Elephants, Here, Love has to be reinvented), participant in collective exhibitions and publications including Photokina and Lab East. He presented his works in many countries like Poland, Germany, Portugal, Russia, Slovakia. As well as magazines (Shots Magazine, Ninja Mag, Archivo Zine, Die Nacht, Gup Magazine). In 2012 he won the prestigious prize for young photographer Leica Oscar Barnack Newcomer Award. His work was nominated to Deutsche Börse Photography Prize and has been shortlisted in many other prizes (Les Nuits Photographiques 2012, Terry O’Neill Award) for his series Pass by me. His works has been shown at festival in Arles 2012 and are in collection of Kiyosato Museum of Photographic Arts. He lives and works in Lodz.
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