Split Second Rendezvous

In the beginning there was the feeling of never having enough time. Not for the family, not for friends, and not for myself. I wanted to capture what was happening around me, what was taking up so much time and making me feel like I couldn't do justice to it.

The world of pictures is infinite and yet only my personal view. I hear screams from the garden, see the chaos at the train station, preparations for the children's birthday party, a business trip lasting several days. Then inconspicuous gestures by people I don't know, a family trip at the weekend, blurred bodies under water.

I find it difficult to categorize the images. Is it a private photo, does it meet the criteria of street photography, is it just the documentation of everyday life? I got the impression, I could not satisfy those genres or be satisfied with the images I took. However, over time the feeling of not complying became less important. It was not about genres or themes anymore, it was just one kind of view on my surrounding.

Documenting everyday life is trivial and at the same time incomplete. Fragments emerge from situations, connections and moods, they are not predictable and cannot be planned in advance. But can't these different fragments be connected visually? Do they not belong together in my life and can create their own level of meaning?

In times of increasing uncertainty, nothing should be taken lightly, everything should be questioned. Perceptions and impressions get their own space, are combined into something new, and finally dissolve my impression of not having enough time. Composite images create a reality and dreamland at the same time, offering answers and illusions to everyday life, to the sound and visions around us.