I started working on this project last year when I spent a semester studying abroad with the Erasmus + programme in Brno, Czech Republic at FAVU. Right after my scholarship had begun in Brno, the pandemic situation started to quickly escalate throughout Europe, borders and countries got closed day by day, and I suddenly found myself stuck in a foreign country with both it’s borders and universities closed.
 
This resulted a sudden surplus of time and undiscovered space, waiting to be processed and saved, being realised. This notion to process the unkown led me to start the series and try to utilise photography as a tool for coping with and staying conscious about reality. The leading approach of the images was to create a collection of photographic documents serving as reference points in order to locate myself in time and space. I felt like it is a must to be conscious about my environment, especially when different factors caused interference with my ordinary rhythm. This interference resulted a feeling of displacement, a shift from the ordinary into an uncertain a jelly like state, where I could feel a kind of viscosity around myself. In the series I tend to utilise a mixture of different techniques, combining my own prints with found photographs and postcards from flea markets. This mixture results in a somehow ununiform body of work where the collateral presence of different techniques makes it easy to believe it’s randomness and unintentionality, while the document like properties of these prints easily confuse the viewers making them objectively believe in the fictional and deeply subjective. Personally I find the utilisation of such combined techniques perfect for emphasizing the reality of alternativeness, and with this kind of pseudo-collectional approach I can imprint my personal ideas and sentiments into receptible photographic documents.