Flying is just as important to me as taking photographs. When I am airoborne – steering the paraglider or the gyroplane – I am at the same time a pilot and a photographer, I hold both the controls and the camera.
When I return to earth and look at the photgraphs – I notice that they are not a one-to-one reflection of what I saw and felt up in the air. That the image I have kept under my eyelids differs from the one recorded on photographic film. So I've decided to recapture the impressions and views that are registered in my head. This is the origin of the AFTERIMAGES project in which, using parts of photographs, I reconstruct my own memories.
The subject here is the beach. There was no other choice. I come from the seaside. This is where I was born, this is where I live. The beach is my natural habitat. It is the boundary of two worlds: the land and the sea. I like to watch as it changes throughout the year – as the sea changes colour, smell, the way it sounds, as it shows us its various faces. As it teases the land. But what fascinates me most is the confrontation of two other worlds: the beach and the people. This relationship brims with tension.
I have been watching sunbathers for many years. The way they colonize the space with their beach screens, blankets, towels. The way they choose the place where they will settle for the day – not too close to others, but not too far away, either. Actually, quite close, after all. This is how a sunbathing village comes to be. Complete with traffic routes and squares. With elegant manors and tiny studios, a tower with a view and a fashion show. There are service providers and social life. A sunbathing village is ever-shifting – like a living organism. It pulses with an inner rhythm. It wakes up at dawn, it grows, blossoms, and then by dusk it dies down, with its few remaining inhabitants gathered around bonfires. And in the morning it is reborn. It is a process of creation and existence of a structure.
A prominent Polish avant-garde abstarct painter Władysław Strzemiński based his work on the concept of afterimage. Each image registered by the human eye is accompanied by a chemical afterimage created on the retina. It affects everything a person sees. Like a virus, it forces its features upon other images. It influences the way we perceive the world, analyze it, it also affects memories. And the way we sense the space around us and memorize what is important.
So I take my documentary photographs and use them as material. I abstract the colours, the bodies, the textures, and I arrange them anew.
AFTERIMAGES is the efect od deconstruction and re-creation.
Welcome on my blanket, and have a nice flight!